Dorothy Gale wird von einem Tornado in ein magisches Land fortgerissen, wo sie sich auf die Suche nach dem Zauberer begibt, der ihr dabei helfen kann, wieder nach Hause zurückzukehren.Dorothy Gale wird von einem Tornado in ein magisches Land fortgerissen, wo sie sich auf die Suche nach dem Zauberer begibt, der ihr dabei helfen kann, wieder nach Hause zurückzukehren.Dorothy Gale wird von einem Tornado in ein magisches Land fortgerissen, wo sie sich auf die Suche nach dem Zauberer begibt, der ihr dabei helfen kann, wieder nach Hause zurückzukehren.
- 2 Oscars gewonnen
- 13 Gewinne & 14 Nominierungen insgesamt
The Singer Midgets
- The Munchkins
- (as The Munchkins)
Gladys W. Allison
- Munchkin
- (Nicht genannt)
John Ballas
- Munchkin
- (Nicht genannt)
Franz Balluck
- Munchkin
- (Nicht genannt)
Josefine Balluck
- Munchkin
- (Nicht genannt)
Casper Balsam
- Munchkin
- (Nicht genannt)
John T. Bambury
- Munchkin
- (Nicht genannt)
Handlung
WUSSTEST DU SCHON:
- WissenswertesJudy Garland found it difficult to be afraid of Margaret Hamilton, because she was such a nice lady off-camera.
- PatzerAfter the Wizard gives the Scarecrow his diploma, he says, "The sum of the square roots of any 2 sides of an isosceles triangle is equal to the square root of the remaining side." This is a misstatement of the Pythagorean Theorem, which is, in fact, about right triangles and not isosceles ones. However, this statement is not true about any triangle, and so it is completely wrong.
- Zitate
Dorothy: How can you talk if you haven't got a brain?
The Scarecrow: I don't know! But some people without brains do an *awful* lot of talking, don't they?
Dorothy: Yes, I guess you're right.
- Crazy CreditsToto is listed in the end credits as being played by Toto, when he was actually played by a female dog named Terry.
- Alternative VersionenFrom 1968 to 1984, on NBC-TV and CBS-TV airings of the film, the film was edited to sell more commercial time. As the amount of commercial time on network television gradually increased, more scenes were cut. According to film historian John Fricke, these cuts started with solely a long tracking shot of Munchkin Land after Dorothy arrives there. The rest of the film remained intact. Also according to Fricke, more wholesale cutting of the film took place when CBS regained the TV rights in 1975. By the 1980s, the other excised shots included: the film's dedication in the opening credits, continuity shots of Dorothy and Toto running from the farm, establishing shots of the cyclone, the aforementioned tracking sequence in Munchkin Land, the establishing shot of the poppy field, and tiny bits and pieces of the trip to the Wicked Witch's castle. CBS, which had shown the uncut version of the film in 1956, and again from the films first telecast until 1968, finally started to show it uncut again beginning in 1985, by time-compressing it. Network airings in the 1990s were uncut and not time-compressed; the film aired in a 2-hour, 10-minute time period.
- VerbindungenEdited into Des Teufels Pilot (1950)
Ausgewählte Rezension
People talk about The Wizard of Oz as a backdrop to their lives; and how true that is. I just saw it again, DVD, for the first time in--gosh!--20 years. There was a little art house in Lansing Michigan USA that ran it back then, on the popular premise that there's nothing like TWoO on "the big screen." That's the last time I'd seen it, 'til today.
I guess the part that "gets" me about the movie is how the writers made it pretty plain that the Scarecrow, Tin Man, and Cowardly Lion really already had what they thought they were missing; that their respective problems were in misapprehending their own complete natures. That's a powerful statement for many of us. I found myself most touched in scenes where the Scarecrow was showing wisdom, the Tin Man feeling deeply ("...when I think of Dorothy in that awful place..."), and the Lion...well, maybe accomplishing this effect was harder in his case...what *is* true courage?
Anyway, if you're reading this here, you must be a movie weenie, and you've no doubt already seen the movie, so I'm not going to recite the usual "go see this movie" mantra.
I was just very touching to see this movie again, at this phase in my life.
I will mention a few more things about how I now see this movie as a "growed up" (I'm almost 50): It's interesting how you can see the production values of the time; the lot sets and special effects and so forth. This movie is a powerful example of how a good story overcomes limited means in other areas.
People who look back with disdain on the low-tech chintz of old movies can see in TWoO the magic ingredient; narrative solidity. And I'm not a pollyanna about this: I'm sure the underlying reality behind its making is rife with horror stories of expert disagreement, rewrites, discarding, jerryrigging, and the rest of it. But in the end, something like narrative love won out; and that's the important thing.
Oh: And having Harold Arlen write the music was good luck indeed. And orchestrations which cleverly appropriated very tasty new ideas in composition (polymodalism, non-standard phrasings, etc.) didn't hurt, either!
Geez, this movie is such a little universe....I'd better stop here.
I guess the part that "gets" me about the movie is how the writers made it pretty plain that the Scarecrow, Tin Man, and Cowardly Lion really already had what they thought they were missing; that their respective problems were in misapprehending their own complete natures. That's a powerful statement for many of us. I found myself most touched in scenes where the Scarecrow was showing wisdom, the Tin Man feeling deeply ("...when I think of Dorothy in that awful place..."), and the Lion...well, maybe accomplishing this effect was harder in his case...what *is* true courage?
Anyway, if you're reading this here, you must be a movie weenie, and you've no doubt already seen the movie, so I'm not going to recite the usual "go see this movie" mantra.
I was just very touching to see this movie again, at this phase in my life.
I will mention a few more things about how I now see this movie as a "growed up" (I'm almost 50): It's interesting how you can see the production values of the time; the lot sets and special effects and so forth. This movie is a powerful example of how a good story overcomes limited means in other areas.
People who look back with disdain on the low-tech chintz of old movies can see in TWoO the magic ingredient; narrative solidity. And I'm not a pollyanna about this: I'm sure the underlying reality behind its making is rife with horror stories of expert disagreement, rewrites, discarding, jerryrigging, and the rest of it. But in the end, something like narrative love won out; and that's the important thing.
Oh: And having Harold Arlen write the music was good luck indeed. And orchestrations which cleverly appropriated very tasty new ideas in composition (polymodalism, non-standard phrasings, etc.) didn't hurt, either!
Geez, this movie is such a little universe....I'd better stop here.
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Details
- Erscheinungsdatum
- Herkunftsland
- Offizieller Standort
- Sprache
- Auch bekannt als
- Der Zauberer von Oz
- Drehorte
- Stage 28, Sony Pictures Studios - 10202 W. Washington Blvd., Culver City, Kalifornien, USA(Witch's castle drawbridge; Wash and Brush Up Company; Witch's entrance hall; Witch's tower room; Yellow Brick Road montage song)
- Produktionsfirma
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 2.777.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 24.668.669 $
- Eröffnungswochenende in den USA und in Kanada
- 5.354.311 $
- 8. Nov. 1998
- Weltweiter Bruttoertrag
- 25.637.669 $
- Laufzeit1 Stunde 42 Minuten
- Seitenverhältnis
- 1.37 : 1
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