The 20th Post

Hello. In 1939, a film premiered at Grauman's Chinese Theatre. It was initially laureled and lucrative. It obtained re-releases. Television events were monumental. It was transmuted into a dandious RSC musical. The film's accumulated rapturous acclaims and profit.

I encountered a trailer and viewed the film. It eventually evolved into my favourite movie. I'm referring to The Wizard of Oz, producer Mervyn LeRoy's impassion project. It's immensely admired by your's-truly. I have the film on VHS and DVD. I musically debuted in a lavished production of the RSC show and posses the film's merchandise. The movie's had my staggerful viewership. I'm immensely enamored by it. I'll prattle on about the film in the corresponding paragraphs.

The musical aspects are magically executed. They're wonderfully arranged and orchestrated They are keenly conducted by Herbert Stothart and Georgie Stoll. There's counterpoints and leitmotifing. Douglas Shearer was a recording director of canniness. The instrumenting is sumptuous.

The songs are wondrously constructed by Harold Arlen and E.Y. Harburg. Arlen's compositions are marvelous composed. Yip penned lavishal lyrics. Their contributions were compimenterable to each other. The musical numbers had essentialness to the story. The film efficiently descends into its songs.

The three fellas had showcaser numbers. The arrangements and words alter in the Off to See the Wizard and If I Only numbers. The Debutanes and Rhythmettes vocally thrived at Optimistic Voices. There's 2 grandeurous group songs. Judy Garland had a seminilable solo.

For the score, Herbert composed music of gloriousness and implemented Arlen's music. Amongst other musical pieces, Stothart implements The Happy Farmer, In the Shade of the Old Apple Tree and Night on Bald Mountain, too. The overture is hypenning. The movie's underscoring is accentuating. Stothart knew when to have the inclusion of music.

Dona Massin and Bobby Connolly were adroit musical number stagers. The choreography alters in the If I Only Songs. Dona altered the Off to See the Wizard skipping (Massin's actually a Wash & Brush Co. beautician). Ding-Dong! The Witch is Dead and The Merry Old Land of Oz are dandily staged numbers. If I Were King of the Forrest is excellently blocked. There's lucidity in the staging of Somewhere Over the Rainbow.

It was a descion of aptness washing the Kansas scenes into sepia. The three-strip Technicolor process assisted with the radiance of Oz. The Kansas-to-Oz transition astonishes. Warren Newcome's detailed Matte paintings accentuated the dreamlike atmospheres, they were secured to the footage admirably. Cedric Gibbons' visionaried art-direction assisted with crafting the Kansas plains and Oz's locations. The sets encompassed the soundstages fantastically. They're built and decorated magnificently.

There's spiffy props and hairstyling. The lighting of the film is lit efficiently, it required oodles to light the film. Applause to Adrian for designing the film's heapous conglomerate of costumes. The costuming is woven terrifically, instinctive in its detailing and befitting to the characters. The opening titles sequence of real-life clouds is triumphant. When it wasn't being harmful, Jack Dawn's makeup was proficient and transformative. It was an equivalent mixture of performer and prosthetic.

Though some effects should've had safer executions, A. Arnold Gillespe systemized ingenuitive, unharmful, cogent special effects. Buddy achieved meticulous illusions! They were story-fowarders. Blanche Sewell, the pioneering editor, assembled the film proficiently! The film's impactful and the pacing's streamlined. The film's stellarly photographed, there are shots that breathtake (especially concerning the 500 pound camera). The cinematography has camera panning, intent focusses without cuts and zoomage.

Tremendous individuals partook in the film's cast. Some grand people were Munchkins. Jimmy the Raven and Adrianna Caselotti participated (I'll write about another film of theirs). Abe Dinovitch vocally embodied an irritable apple tree. Lois January, a Western vet, is a Wash and Brush Co. worker, too. Seasonly actor Mitchell Lewis was Captain of the iconically marching Winkie guards. The principals guised their discomforts and had rapports. Terry, the female Cairn Terrier, was a noteworthy confidante as Toto and trained with efficience by Carl Spitz. Pat Walshe, my historical Nikko predecessor, acted creepily and had authenticities. Billie Burke's 2 character-encompassing Glinda had effervescences, deviousness and allure. Charley Grapewin ceased retirement to be a rugged, amenity bumpkin as Uncle Henry. Clara Blandick's Auntie Em had scrictness, but was incredibly kindhearted and solicitous.

The deservingly 2nd-billed Frank Morgan was a convivial charlatan as Professor Marvel. Frank portrayed 3 individualistic Emerald City employees. Morgan had imperialistic intimidation and exuberant affability as The Wizard. Ray Bolger, Jack Haley and Bert Lahr had pathosey. They had viability as a trio of Kansas farmhands. Bert's Cowardly Lion is bravadous, animalistic and neurotical. Lahr had adorablity and flamboyancy. Haley's Tin Man is unfeigned, tenderhearted and serenely characterized. Jack had sincerities, too. Ray's Scarecrow is loosely-limbed, sprightly and brainy. Bolger qualified as a song & dance man of winsomeness. Margaret Hamilton, a sweetie, was a buyabled termagant as Miss Gulch. Maggie harrowed and entranced as The Wicked Witch of the West, my favourite movie antagonist. Hamilton and the writers transmogrified a 1-chaptered character into a fiendish, powercraving, unrelenting, omnipresent, dictating opponent. Judy Garland's Dorothy Gale is a heroic, empathy-snagging, benign leading lady. Garland was an engrossing, film-carrying triple threat and a trooper. Judy's renowned, beguilable performance possessed childlike earnesties and relatability.

14 writers had federation with the screenplay. The 3 credited writers, Florence Ryerson, Edgard Allan Woolf and Noel Langley, excelled at contributing to the script. The Kansas counterparts and Ruby Slippers were ideas of veritability. Sensibly, Oz is a dream. The story's a day's occurrences subconsciously manifesting into a dream that teaches a moral. I'm admiring of the foreshadowing, story-developing Kansas prologue. Dorothy plummets into Oz at a feasible occasion. The 4 principals and Toto arrive at the Emerald City gate in proximity to the 1 hour mark. There is a perilous climax. The Denouement heartens. The script's explainitive. It's lighthearted and portentous. It is diverting, distressing and beautifully gladsome. It's dialogue's quotability is ginormous and the principal characters are smashing. Oz is presented as varied and fantasticaled. The film's morals posses legitimacy.

3/5ths of the associated directors contributed to the film. George Cukor made requisite refinements. With commendable intentions, Victor Fleming directed a majority of the film exceptionally. King Vidor completed filming honorably and effectually. The film just has errors, but they're forgivable and undetracting (some were unavoidable). Miraculously, the film's crafted brilliantly and rivitous. It has a multiage appeal. Though the film's 82 this Summer, the movie is perennial. It has eternaled endurance to the young in heart. Thankfully, production wasn't abolished. This is dedicated to a cherished, remarkable, congenial, beguilingly talented friend (a.k.a. my favourite Witch I've ever met).