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Hot Vegas Slots Casino. Along with the contributors already mentioned, others who assisted with the adaptation without receiving credit include: In addition, songwriter Harburg's son and biographer Ernie Harburg reported: The original producers thought that a audience was too sophisticated to accept Oz as a straight-ahead fantasy; therefore, it was reconceived as a lengthy, elaborate dream sequence.

Because of a perceived need to attract a youthful audience through appealing to modern fads and styles, the score had featured a song called " The Jitterbug ", and the script had featured a scene with a series of musical contests.

A spoiled, selfish princess in Oz had outlawed all forms of music except classical and operetta , and went up against Dorothy in a singing contest in which her swing style enchanted listeners and won the grand prize.

This part was initially written for Betty Jaynes. Another scene, which was removed before final script approval and never filmed, was a concluding scene back in Kansas after Dorothy's return.

Hunk the Kansan counterpart to the Scarecrow is leaving for agricultural college and extracts a promise from Dorothy to write to him.

The implication of the scene is that romance will eventually develop between the two, which also may have been intended as an explanation for Dorothy's partiality for the Scarecrow over her other two companions.

This plot idea was never totally dropped, but is especially noticeable in the final script when Dorothy, just before she is to leave Oz, tells the Scarecrow, "I think I'll miss you most of all.

Further, Dorothy lived inside a farmhouse which had its paint blistered and washed away by the weather, giving it an air of grayness.

The house and property were situated in the middle of a sweeping prairie where the grass was burnt gray by harsh sun. Aunt Em and Uncle Henry were "gray with age".

Effectively, the use of monochrome sepia tones for the Kansas sequences was a stylistic choice that evoked the dull and gray countryside.

Consequently, it took the studio's art department almost a week to settle on the final shade of yellow used for the yellow brick road.

LeRoy had always insisted that he wanted to cast Judy Garland to play Dorothy from the start; however, evidence suggests that negotiations occurred early in pre-production for Shirley Temple to be cast as Dorothy, on loan from 20th Century Fox.

The tale is almost certainly untrue, as Harlow died in , before MGM had even purchased the rights to the story.

Despite this, the story appears in many film biographies including Temple's own autobiography. The documentary The Wonderful Wizard of Oz: The Making of a Movie Classic states that Mervyn LeRoy was under pressure to cast Temple, then the most popular child star, but at an unofficial audition, MGM musical mainstay Roger Edens listened to her sing and felt that an actress with a different style was needed; a 50th anniversary documentary for the film suggested that Temple, then years-old, was slightly too young for the part.

Newsreel footage is included in which Temple wisecracks, "There's no place like home", suggesting that she was being considered for the part at that time.

Actress Deanna Durbin , who was under contract to Universal Studios , was also considered for the part of Dorothy. Durbin, at the time, far exceeded Garland in film experience and fan base and both had co-starred in a two-reeler titled Every Sunday.

The film was most notable for exhibiting Durbin's operatic style of singing against Garland's jazzier style. Durbin was possibly passed over once it was decided to bring on Jaynes, also an operatic singer, to rival Garland's jazz in the aforementioned discarded subplot of the film.

Now unhappy with his role as the Tin Man reportedly claiming, "I'm not a tin performer; I'm fluid" , Bolger convinced producer Mervyn LeRoy to recast him in the part he so desired.

Fields was originally chosen for the role of the Wizard, a role turned down by Ed Wynn as he thought the part was too small, but the studio ran out of patience after protracted haggling over Fields' fee; instead, another contract player, Frank Morgan , was cast on September An extensive talent search produced over a hundred little people to play Munchkins; this meant that most of the film's Oz sequences would have to already be shot before work on the Munchkinland sequence could begin.

Meinhardt Raabe , who played the coroner, revealed in the documentary The Making of the Wizard of Oz that the MGM costume and wardrobe department, under the direction of designer Adrian , had to design over costumes for the Munchkin sequences.

They then had to photograph and catalog each Munchkin in his or her costume so that they could correctly apply the same costume and makeup each day of production.

Gale Sondergaard was originally cast as the Wicked Witch. She became unhappy when the witch's persona shifted from sly and glamorous thought to emulate the wicked queen in Disney's Snow White and the Seven Dwarfs into the familiar "ugly hag".

She turned down the role and was replaced on October 10, , just three days before filming started, by MGM contract player Margaret Hamilton.

Sondergaard said in an interview for a bonus feature on the DVD that she had no regrets about turning down the part, and would go on to play a glamorous villain in Fox's version of Maurice Maeterlinck 's The Blue Bird in ; Margaret Hamilton played a role remarkably similar to the Wicked Witch in the Judy Garland film Babes in Arms According to Aljean Harmetz, the "gone-to-seed" coat worn by Morgan as the wizard was selected from a rack of coats purchased from a second-hand shop.

According to legend, Morgan later discovered a label in the coat indicating it had once belonged to Baum, that Baum's widow confirmed this, and that the coat was eventually presented to her.

But Baum biographer Michael Patrick Hearn says the Baum family denies ever seeing the coat or knowing of the story; Hamilton considered it a concocted studio rumor.

Filming commenced October 13, , on the MGM lot in Culver City, California , under the direction of Richard Thorpe replacing original director Norman Taurog , who filmed only a few early Technicolor tests and was then reassigned.

Thorpe initially shot about two weeks of footage nine days in total involving Dorothy's first encounter with the Scarecrow, as well as a number of sequences in the Wicked Witch's castle, such as Dorothy's rescue which, though unreleased, comprises the only footage of Ebsen's Tin Man.

According to most sources, ten days into the shoot, Ebsen suffered a reaction to the aluminum powder makeup he wore.

He was hospitalized in critical condition, and subsequently was forced to leave the project; in a later interview included on the DVD release of The Wizard of Oz , he recalled the studio heads appreciated the seriousness of his illness only after seeing him in the hospital.

Filming halted while a replacement for him was found. His replacement, Jack Haley , simply assumed he had been fired. LeRoy, after reviewing the footage and feeling Thorpe was rushing the production, adversely affecting the actors' performances, had Thorpe replaced.

During reorganization on the production, George Cukor temporarily took over, under LeRoy's guidance. Initially, the studio had made Garland wear a blond wig and heavy "baby-doll" makeup, and she played Dorothy in an exaggerated fashion; now, Cukor changed Garland's and Hamilton's makeup and costumes, and told Garland to "be herself".

This meant that all the scenes Garland and Hamilton had already completed had to be discarded and reshot. The makeup used for Haley was quietly changed to an aluminum paste, with a layer of clown white greasepaint underneath to protect his skin; although it did not have the same dire effect on Haley, he did at one point suffer an eye infection from it.

In addition, Bolger's original recording of " If I Only Had a Brain " had been far more sedate compared to the version heard in the film; during this time, Cukor and LeRoy decided that a more energetic rendition would better suit Dorothy's initial meeting with the Scarecrow initially, it was to contrast with his lively manner in Thorpe's footage , and was rerecorded as such.

At first thought to be lost for over seven decades, a recording of this original version was rediscovered in Cukor did not actually shoot any scenes for the film, merely acting as something of a "creative advisor" to the troubled production, and, because of his prior commitment to direct Gone with the Wind , he left on November 3, , when Victor Fleming assumed directorial responsibility.

As director, Fleming chose not to shift the film from Cukor's creative realignment, as producer LeRoy had already pronounced his satisfaction with the new course the film was taking.

Production on the bulk of the Technicolor sequences was a long and exhausting process that ran for over six months, from October to March Most of the cast worked six days a week and had to arrive as early as 4: Bolger later said that the frightening nature of the costumes prevented most of the Oz principals from eating in the studio commissary; [30] the toxicity of Hamilton's copper-based makeup forced her to eat a liquid diet on shoot days.

All of the Oz sequences were filmed in three-strip Technicolor. In Hamilton's exit from Munchkinland, a concealed elevator was arranged to lower her below stage as fire and smoke erupted to dramatize and conceal her exit.

The first take ran well but in the second take the flames did not go out in time. The flames set fire to her green, copper-based face paint, causing third-degree burns on her hands and face.

She spent three months healing before returning to work. On February 12, , Fleming hastily replaced Cukor in directing Gone with the Wind ; the next day, King Vidor was assigned as director by the studio to finish the filming of The Wizard of Oz mainly the sepia-toned Kansas sequences, including Garland's singing of " Over the Rainbow " and the tornado.

In later years, when the film became firmly established as a classic, Vidor chose not to take public credit for his contribution until after the death of his friend Fleming in Principal photography concluded with the Kansas sequences on March 16, ; nonetheless, reshoots and pick-up shots were filmed throughout April and May and into June, under the direction of producer LeRoy.

After the deletion of the "Over the Rainbow" reprise during subsequent test screenings in early June, Garland had to be brought back one more time to reshoot the "Auntie Em, I'm frightened!

After Hamilton's torturous experience with the Munchkinland elevator, she refused to do the pick-ups for the scene in which she flies on a broomstick that billows smoke, so LeRoy chose to have stand-in Betty Danko perform the scene, instead; as a result, Danko was severely injured doing the scene due to a malfunction in the smoke mechanism.

At this point, the film began a long arduous post-production. Herbert Stothart had to compose the film's background score, while A.

Arnold Gillespie had to perfect the various special effects that the film required, including many of the rear projection shots.

The MGM art department also had to create the various matte paintings for the background of many of the scenes.

One significant innovation planned for the film was the use of stencil printing for the transition to Technicolor.

Each frame was to be hand-tinted to maintain the sepia tone; however, because this was too expensive and labor-intensive, it was abandoned and MGM used a simpler and less expensive variation of the process.

During the reshoots in May, the inside of the farm house was painted sepia, and when Dorothy opens the door, it is not Garland, but her stand-in, Bobbie Koshay, wearing a sepia gingham dress, who then backs out of frame; once the camera moves through the door, Garland steps back into frame in her bright blue gingham dress as noted in DVD extras , and the sepia-painted door briefly tints her with the same color before she emerges from the house's shadow, into the bright glare of the Technicolor lighting.

This also meant that the reshoots provided the first proper shot of Munchkinland; if one looks carefully, the brief cut to Dorothy looking around outside the house bisects a single long shot, from the inside of the doorway to the pan-around that finally ends in a reverse-angle as the ruins of the house are seen behind Dorothy as she comes to a stop at the foot of the small bridge.

Test screenings of the film began on June 5, LeRoy and Fleming knew that at least 15 minutes needed to be deleted to get the film down to a manageable running time; the average film in ran for just about 90 minutes.

The Witch Is Dead ", and a number of smaller dialogue sequences. This left the final, mostly serious portion of the film with no songs, only the dramatic underscoring.

One song that was almost deleted was "Over the Rainbow". MGM had felt that it made the Kansas sequence too long, as well as being far over the heads of the target audience of children.

The studio also thought that it was degrading for Garland to sing in a barnyard. LeRoy, uncredited associate producer Arthur Freed and director Fleming fought to keep it in, and they all eventually won.

The song went on to win the Academy Award for Best Song of the Year, and came to be identified so strongly with Garland herself that she made it her theme song.

After the preview in San Luis Obispo in early July, the film was officially released in August at its current minute running time.

Arnold Gillespie was the special effects director for the film. The tornado scene was especially costly. Gillespie used muslin cloth to make the tornado flexible after a previous attempt with rubber failed.

He hung the 35 feet of muslin to a steel gantry and connected the bottom to a rod. By moving the gantry and rod, he was able to create the illusion of a tornado moving across the stage.

Fuller's Earth was sprayed from both the top and bottom using compressed air hoses to complete the effect. The Cowardly Lion and Scarecrow masks were made of foam latex makeup made by makeup artist Jack Dawn , who was one of the first makeup artists to use this technique.

It took an hour each day to slowly peel the glued-on mask from Bolger's face. Hamilton was wearing her green makeup at the time, which was usually removed with acetone due to the toxicity of its copper content.

In this case, due to Hamilton's burns, makeup artist Jack Young removed the makeup with alcohol instead to prevent infection.

The film is widely noted for its musical selections and soundtrack. The song was ranked first in two lists: Georgie Stoll was associate conductor and screen credit was given to George Bassman , Murray Cutter , Ken Darby and Paul Marquardt for orchestral and vocal arrangements as usual, Roger Edens was also heavily involved as an unbilled musical associate to Freed.

The songs were recorded in the studio's scoring stage before filming. Several of the recordings were completed while Ebsen was still with the cast.

Therefore, while he had to be dropped from the cast due to illness from the aluminum powder makeup, his singing voice remained in the soundtrack as noted in the notes for the CD Deluxe Edition.

In the group vocals of "We're Off to See the Wizard", his voice can be heard. Haley spoke with a distinct Boston accent , thus did not pronounce the r in wizard.

By contrast, Ebsen was a Midwesterner , like Garland, and pronounced it. Haley rerecorded Ebsen's solo parts later. The song "The Jitterbug", written in a swing style, was intended for the sequence in which the group is journeying to the Witch's castle.

Due to time constraints, the song was cut from the final theatrical version. The film footage for the song has been lost, although silent home film footage of rehearsals for the number has survived.

The sound recording for the song, however, is intact and was included in the two-CD Rhino Records deluxe edition of the film soundtrack, as well as on the VHS and DVD editions of the film.

A reference to "The Jitterbug" remains in the film: Another musical number cut before release occurred right after the Wicked Witch of the West was melted and before Dorothy and her friends returned to the Wizard.

This was a reprise of "Ding-Dong! The Witch is Dead! The Wicked Witch is dead! Today, the film of this scene is also lost and only a few stills survive, along with a few seconds of footage used on several reissue trailers.

The entire audio still exists and is included on the two-CD Rhino Record deluxe edition of the film soundtrack.

In addition, a brief reprise of "Over the Rainbow" was intended to be sung by Garland while Dorothy is trapped in the Witch's castle, but it was cut because it was considered too emotionally intense.

The original soundtrack recording still exists, however, and was included as an extra in all home media releases from onwards. Extensive edits in the film's final cut removed vocals from the last portion of the film.

However, the film was fully underscored , with instrumental snippets from the film's various leitmotifs throughout. There was also some recognizable popular music, including:.

The film's first sneak preview was held in San Bernardino, California. They continued to perform there after each screening for a week, extended in Rooney's case for a second week and in Garland's to three with Oz co-stars Ray Bolger and Bert Lahr replacing Rooney for the third and final week.

The film opened nationwide on August 25, However, for all the risks and cost that MGM undertook to produce the film, it was considered at least more successful than anyone thought it would be.

The film had been enormously successful as a book, and it had also been a major stage hit, but previous attempts to bring it to the screen had been dismal failures.

The film received much acclaim upon its release. Frank Nugent considered the film a "delightful piece of wonder-working which had the youngsters' eyes shining and brought a quietly amused gleam to the wiser ones of the oldsters.

Not since Disney's Snow White and the Seven Dwarfs has anything quite so fantastic succeeded half so well. Nor can they, without a few betraying jolts and split-screen overlappings, bring down from the sky the great soap bubble in which Glinda rides and roll it smoothly into place.

Writing in Variety , John C. Flinn predicted that the film was "likely to perform some record-breaking feats of box-office magic," noting, "Some of the scenic passages are so beautiful in design and composition as to stir audiences by their sheer unfoldment.

Harrison's Reports wrote, "Even though some persons are not interested in pictures of this type, it is possible that they will be eager to see this picture just for its technical treatment.

The performances are good, and the incidental music is of considerable aid. Pictures of this caliber bring credit to the industry.

Leo the Lion is privileged to herald this one with his deepest roar—the one that comes from way down—for seldom if indeed ever has the screen been so successful in its approach to fantasy and extravaganza through flesh-and-blood Not all reviews were positive.

Some moviegoers felt that the year-old Garland was slightly too old to play the little girl who Baum originally intended his Dorothy to be. Russell Maloney of The New Yorker wrote that the film displayed "no trace of imagination, good taste, or ingenuity" and declared it "a stinkeroo," [57] while Otis Ferguson of The New Republic wrote, "It has dwarfs, music, Technicolor, freak characters, and Judy Garland.

It can't be expected to have a sense of humor, as well - and as for the light touch of fantasy, it weighs like a pound of fruitcake soaking wet.

Roger Ebert chose it as one of his Great Films, writing that " The Wizard of Oz has a wonderful surface of comedy and music, special effects and excitement, but we still watch it six decades later because its underlying story penetrates straight to the deepest insecurities of childhood, stirs them and then reassures them.

Writer Salman Rushdie acknowledged " The Wizard of Oz was my very first literary influence" in his musings about the film. In a retrospective article about the film, San Francisco Chronicle film critic and author Mick LaSalle declared that the film's "entire Munchkinland sequence, from Dorothy's arrival in Oz to her departure on the yellow brick road, has to be one of the greatest in cinema history — a masterpiece of set design, costuming, choreography, music, lyrics, storytelling, and sheer imagination.

The site's critical consensus reads, "An absolute masterpiece whose groundbreaking visuals and deft storytelling are still every bit as resonant, The Wizard of Oz is a must-see film for young and old.

Although the reissue used sepia tone, as in the original release, beginning with the re-issue, and continuing until the film's 50th anniversary VHS release in , the opening Kansas sequences were shown in black and white instead of the sepia tone as originally printed.

This includes television showings. For the film's then-upcoming 60th anniversary, Warner Bros. Pictures released a "Special Edition" on November 6, , digitally restored with remastered audio.

In , the film had a very limited re-release in U. On September 23, , the film was rereleased in select theaters for a one-night-only event in honor of its 70th anniversary and as a promotion for various new disc releases later in the month.

An encore of this event was released in theaters on November 17, An IMAX 3D theatrical re-release played at theaters in North America for one week only beginning September 20, , as part of the film's 75th anniversary.

It was also shown as a special presentation at the Toronto International Film Festival. According to MPAA rules, a film that has been altered in any way from its original version must be submitted for re-classification, as the 3-D conversion fell within that guideline.

Surprisingly, the 3D version received a PG rating for "Some scary moments", although no change was made to the film's original story content. The 2D version still retains its G rating.

The film was released multiple times for the home-video commercial market on a limited scale on Super 8 film 8 mm format during the s. These releases include an edited English version roughly 10 minutes, and roughly 20 minutes , as well as edited Spanish versions of the classic.

Also, a full commercial release of it was made on Super 8 on multiple reels that came out in the s, as well, for the commercial market.

The first LaserDisc release of it was in , with two versions of a second one from Turner and one from The Criterion Collection with a commentary track for the 50th anniversary release in , a third in , a fourth in , a fifth in and a sixth and final LaserDisc release on September 11, In addition to VHS and later, LaserDisc , the film has been released multiple times during the s on the Betamax format, beginning in simultaneously with the VHS release.

Outside of the North American and European markets, the film has also been released multiple times on the Video CD format since the s in Asia.

It was re-released by Warner Bros. The monochrome-to-color transition was more smoothly accomplished by digitally keeping the inside of the house in monochrome while Dorothy and the reveal of Munchkinland are in color.

The Making of a Movie Classic , produced in and hosted by Angela Lansbury , which was originally shown on television immediately following the telecast of the film; it had been featured in the "Ultimate Oz" LaserDisc release.

Outtakes, the deleted "Jitterbug" musical number, clips of pre Oz adaptations, trailers, newsreels, and a portrait gallery were also included, as well as two radio programs of the era publicizing the film.

In , two DVD editions were released, both featuring a newly restored version of the film with an audio commentary and an isolated music and effects track.

One of the two DVD releases was a "Two-Disc Special Edition", featuring production documentaries, trailers, various outtakes, newsreels, radio shows and still galleries.

The other set, a "Three-Disc Collector's Edition", included these features, as well as the digitally restored 80th-anniversary edition of the feature-length silent film version of The Wizard of Oz , other silent Oz adaptations and a animated short version.

The film was released on Blu-ray on September 29, , for its 70th anniversary in a four-disc "Ultimate Collector's Edition", including all the bonus features from the Collector's Edition DVD, new bonus features about Victor Fleming and the surviving Munchkins, the telefilm The Dreamer of Oz: When the Lion Roars.

For this edition, Warner Bros. The restoration job was given to Prime Focus World. On December 1, , [ citation needed ] three Blu-ray discs of the Ultimate Collector's Edition were repackaged as a less expensive "Emerald Edition", with an Emerald Edition four-disc DVD arriving the following week.

A single-disc Blu-ray, containing the restored movie and all the extra features of the two-disc Special Edition DVD, also became available on March 16, Also, multiple special editions were released in celebration of the film's the 75th anniversary in , exclusively by both Best Buy a SteelBook of the 3D Blu-ray and another version that came with a keepsake lunch bag released by Target stores.

Roughly 40 identifiable major differences exist between the original book and the MGM interpretation.

The film was dramatized as a one-hour radio play on Lux Radio Theatre , which was broadcast on December 25, , with Garland reprising her earlier role.

In , a one-hour animated cartoon called Return to Oz was shown as an afternoon weekend special on NBC. In , the stage show The Wiz premiered on Broadway.

Its financing was handled by actor Geoffrey Holder. Its inspired revivals after it left the stage and an unsuccessful motion picture made in , starring Diana Ross as Dorothy and Michael Jackson as the Scarecrow.

In , Gregory Maguire published the novel Wicked: The story describes the life of the Wicked Witch of the West and other events prior to Dorothy's arrival.

For the film's 56th anniversary, a stage show also titled The Wizard of Oz was based upon it and the book by L.

It toured from to , except for It features all of the songs from the film plus new songs written by Lloyd Webber and Rice. It was a commercial success and received a mixed critical reception.

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Hunk the Kansan counterpart to the Scarecrow is leaving for agricultural college and extracts a promise from Dorothy to write to him.

The implication of the scene is that romance will eventually develop between the two, which also may have been intended as an explanation for Dorothy's partiality for the Scarecrow over her other two companions.

This plot idea was never totally dropped, but is especially noticeable in the final script when Dorothy, just before she is to leave Oz, tells the Scarecrow, "I think I'll miss you most of all.

Further, Dorothy lived inside a farmhouse which had its paint blistered and washed away by the weather, giving it an air of grayness. The house and property were situated in the middle of a sweeping prairie where the grass was burnt gray by harsh sun.

Aunt Em and Uncle Henry were "gray with age". Effectively, the use of monochrome sepia tones for the Kansas sequences was a stylistic choice that evoked the dull and gray countryside.

Consequently, it took the studio's art department almost a week to settle on the final shade of yellow used for the yellow brick road.

LeRoy had always insisted that he wanted to cast Judy Garland to play Dorothy from the start; however, evidence suggests that negotiations occurred early in pre-production for Shirley Temple to be cast as Dorothy, on loan from 20th Century Fox.

The tale is almost certainly untrue, as Harlow died in , before MGM had even purchased the rights to the story.

Despite this, the story appears in many film biographies including Temple's own autobiography. The documentary The Wonderful Wizard of Oz: The Making of a Movie Classic states that Mervyn LeRoy was under pressure to cast Temple, then the most popular child star, but at an unofficial audition, MGM musical mainstay Roger Edens listened to her sing and felt that an actress with a different style was needed; a 50th anniversary documentary for the film suggested that Temple, then years-old, was slightly too young for the part.

Newsreel footage is included in which Temple wisecracks, "There's no place like home", suggesting that she was being considered for the part at that time.

Actress Deanna Durbin , who was under contract to Universal Studios , was also considered for the part of Dorothy. Durbin, at the time, far exceeded Garland in film experience and fan base and both had co-starred in a two-reeler titled Every Sunday.

The film was most notable for exhibiting Durbin's operatic style of singing against Garland's jazzier style. Durbin was possibly passed over once it was decided to bring on Jaynes, also an operatic singer, to rival Garland's jazz in the aforementioned discarded subplot of the film.

Now unhappy with his role as the Tin Man reportedly claiming, "I'm not a tin performer; I'm fluid" , Bolger convinced producer Mervyn LeRoy to recast him in the part he so desired.

Fields was originally chosen for the role of the Wizard, a role turned down by Ed Wynn as he thought the part was too small, but the studio ran out of patience after protracted haggling over Fields' fee; instead, another contract player, Frank Morgan , was cast on September An extensive talent search produced over a hundred little people to play Munchkins; this meant that most of the film's Oz sequences would have to already be shot before work on the Munchkinland sequence could begin.

Meinhardt Raabe , who played the coroner, revealed in the documentary The Making of the Wizard of Oz that the MGM costume and wardrobe department, under the direction of designer Adrian , had to design over costumes for the Munchkin sequences.

They then had to photograph and catalog each Munchkin in his or her costume so that they could correctly apply the same costume and makeup each day of production.

Gale Sondergaard was originally cast as the Wicked Witch. She became unhappy when the witch's persona shifted from sly and glamorous thought to emulate the wicked queen in Disney's Snow White and the Seven Dwarfs into the familiar "ugly hag".

She turned down the role and was replaced on October 10, , just three days before filming started, by MGM contract player Margaret Hamilton.

Sondergaard said in an interview for a bonus feature on the DVD that she had no regrets about turning down the part, and would go on to play a glamorous villain in Fox's version of Maurice Maeterlinck 's The Blue Bird in ; Margaret Hamilton played a role remarkably similar to the Wicked Witch in the Judy Garland film Babes in Arms According to Aljean Harmetz, the "gone-to-seed" coat worn by Morgan as the wizard was selected from a rack of coats purchased from a second-hand shop.

According to legend, Morgan later discovered a label in the coat indicating it had once belonged to Baum, that Baum's widow confirmed this, and that the coat was eventually presented to her.

But Baum biographer Michael Patrick Hearn says the Baum family denies ever seeing the coat or knowing of the story; Hamilton considered it a concocted studio rumor.

Filming commenced October 13, , on the MGM lot in Culver City, California , under the direction of Richard Thorpe replacing original director Norman Taurog , who filmed only a few early Technicolor tests and was then reassigned.

Thorpe initially shot about two weeks of footage nine days in total involving Dorothy's first encounter with the Scarecrow, as well as a number of sequences in the Wicked Witch's castle, such as Dorothy's rescue which, though unreleased, comprises the only footage of Ebsen's Tin Man.

According to most sources, ten days into the shoot, Ebsen suffered a reaction to the aluminum powder makeup he wore. He was hospitalized in critical condition, and subsequently was forced to leave the project; in a later interview included on the DVD release of The Wizard of Oz , he recalled the studio heads appreciated the seriousness of his illness only after seeing him in the hospital.

Filming halted while a replacement for him was found. His replacement, Jack Haley , simply assumed he had been fired. LeRoy, after reviewing the footage and feeling Thorpe was rushing the production, adversely affecting the actors' performances, had Thorpe replaced.

During reorganization on the production, George Cukor temporarily took over, under LeRoy's guidance. Initially, the studio had made Garland wear a blond wig and heavy "baby-doll" makeup, and she played Dorothy in an exaggerated fashion; now, Cukor changed Garland's and Hamilton's makeup and costumes, and told Garland to "be herself".

This meant that all the scenes Garland and Hamilton had already completed had to be discarded and reshot.

The makeup used for Haley was quietly changed to an aluminum paste, with a layer of clown white greasepaint underneath to protect his skin; although it did not have the same dire effect on Haley, he did at one point suffer an eye infection from it.

In addition, Bolger's original recording of " If I Only Had a Brain " had been far more sedate compared to the version heard in the film; during this time, Cukor and LeRoy decided that a more energetic rendition would better suit Dorothy's initial meeting with the Scarecrow initially, it was to contrast with his lively manner in Thorpe's footage , and was rerecorded as such.

At first thought to be lost for over seven decades, a recording of this original version was rediscovered in Cukor did not actually shoot any scenes for the film, merely acting as something of a "creative advisor" to the troubled production, and, because of his prior commitment to direct Gone with the Wind , he left on November 3, , when Victor Fleming assumed directorial responsibility.

As director, Fleming chose not to shift the film from Cukor's creative realignment, as producer LeRoy had already pronounced his satisfaction with the new course the film was taking.

Production on the bulk of the Technicolor sequences was a long and exhausting process that ran for over six months, from October to March Most of the cast worked six days a week and had to arrive as early as 4: Bolger later said that the frightening nature of the costumes prevented most of the Oz principals from eating in the studio commissary; [30] the toxicity of Hamilton's copper-based makeup forced her to eat a liquid diet on shoot days.

All of the Oz sequences were filmed in three-strip Technicolor. In Hamilton's exit from Munchkinland, a concealed elevator was arranged to lower her below stage as fire and smoke erupted to dramatize and conceal her exit.

The first take ran well but in the second take the flames did not go out in time. The flames set fire to her green, copper-based face paint, causing third-degree burns on her hands and face.

She spent three months healing before returning to work. On February 12, , Fleming hastily replaced Cukor in directing Gone with the Wind ; the next day, King Vidor was assigned as director by the studio to finish the filming of The Wizard of Oz mainly the sepia-toned Kansas sequences, including Garland's singing of " Over the Rainbow " and the tornado.

In later years, when the film became firmly established as a classic, Vidor chose not to take public credit for his contribution until after the death of his friend Fleming in Principal photography concluded with the Kansas sequences on March 16, ; nonetheless, reshoots and pick-up shots were filmed throughout April and May and into June, under the direction of producer LeRoy.

After the deletion of the "Over the Rainbow" reprise during subsequent test screenings in early June, Garland had to be brought back one more time to reshoot the "Auntie Em, I'm frightened!

After Hamilton's torturous experience with the Munchkinland elevator, she refused to do the pick-ups for the scene in which she flies on a broomstick that billows smoke, so LeRoy chose to have stand-in Betty Danko perform the scene, instead; as a result, Danko was severely injured doing the scene due to a malfunction in the smoke mechanism.

At this point, the film began a long arduous post-production. Herbert Stothart had to compose the film's background score, while A. Arnold Gillespie had to perfect the various special effects that the film required, including many of the rear projection shots.

The MGM art department also had to create the various matte paintings for the background of many of the scenes. One significant innovation planned for the film was the use of stencil printing for the transition to Technicolor.

Each frame was to be hand-tinted to maintain the sepia tone; however, because this was too expensive and labor-intensive, it was abandoned and MGM used a simpler and less expensive variation of the process.

During the reshoots in May, the inside of the farm house was painted sepia, and when Dorothy opens the door, it is not Garland, but her stand-in, Bobbie Koshay, wearing a sepia gingham dress, who then backs out of frame; once the camera moves through the door, Garland steps back into frame in her bright blue gingham dress as noted in DVD extras , and the sepia-painted door briefly tints her with the same color before she emerges from the house's shadow, into the bright glare of the Technicolor lighting.

This also meant that the reshoots provided the first proper shot of Munchkinland; if one looks carefully, the brief cut to Dorothy looking around outside the house bisects a single long shot, from the inside of the doorway to the pan-around that finally ends in a reverse-angle as the ruins of the house are seen behind Dorothy as she comes to a stop at the foot of the small bridge.

Test screenings of the film began on June 5, LeRoy and Fleming knew that at least 15 minutes needed to be deleted to get the film down to a manageable running time; the average film in ran for just about 90 minutes.

The Witch Is Dead ", and a number of smaller dialogue sequences. This left the final, mostly serious portion of the film with no songs, only the dramatic underscoring.

One song that was almost deleted was "Over the Rainbow". MGM had felt that it made the Kansas sequence too long, as well as being far over the heads of the target audience of children.

The studio also thought that it was degrading for Garland to sing in a barnyard. LeRoy, uncredited associate producer Arthur Freed and director Fleming fought to keep it in, and they all eventually won.

The song went on to win the Academy Award for Best Song of the Year, and came to be identified so strongly with Garland herself that she made it her theme song.

After the preview in San Luis Obispo in early July, the film was officially released in August at its current minute running time.

Arnold Gillespie was the special effects director for the film. The tornado scene was especially costly. Gillespie used muslin cloth to make the tornado flexible after a previous attempt with rubber failed.

He hung the 35 feet of muslin to a steel gantry and connected the bottom to a rod. By moving the gantry and rod, he was able to create the illusion of a tornado moving across the stage.

Fuller's Earth was sprayed from both the top and bottom using compressed air hoses to complete the effect. The Cowardly Lion and Scarecrow masks were made of foam latex makeup made by makeup artist Jack Dawn , who was one of the first makeup artists to use this technique.

It took an hour each day to slowly peel the glued-on mask from Bolger's face. Hamilton was wearing her green makeup at the time, which was usually removed with acetone due to the toxicity of its copper content.

In this case, due to Hamilton's burns, makeup artist Jack Young removed the makeup with alcohol instead to prevent infection. The film is widely noted for its musical selections and soundtrack.

The song was ranked first in two lists: Georgie Stoll was associate conductor and screen credit was given to George Bassman , Murray Cutter , Ken Darby and Paul Marquardt for orchestral and vocal arrangements as usual, Roger Edens was also heavily involved as an unbilled musical associate to Freed.

The songs were recorded in the studio's scoring stage before filming. Several of the recordings were completed while Ebsen was still with the cast.

Therefore, while he had to be dropped from the cast due to illness from the aluminum powder makeup, his singing voice remained in the soundtrack as noted in the notes for the CD Deluxe Edition.

In the group vocals of "We're Off to See the Wizard", his voice can be heard. Haley spoke with a distinct Boston accent , thus did not pronounce the r in wizard.

By contrast, Ebsen was a Midwesterner , like Garland, and pronounced it. Haley rerecorded Ebsen's solo parts later. The song "The Jitterbug", written in a swing style, was intended for the sequence in which the group is journeying to the Witch's castle.

Due to time constraints, the song was cut from the final theatrical version. The film footage for the song has been lost, although silent home film footage of rehearsals for the number has survived.

The sound recording for the song, however, is intact and was included in the two-CD Rhino Records deluxe edition of the film soundtrack, as well as on the VHS and DVD editions of the film.

A reference to "The Jitterbug" remains in the film: Another musical number cut before release occurred right after the Wicked Witch of the West was melted and before Dorothy and her friends returned to the Wizard.

This was a reprise of "Ding-Dong! The Witch is Dead! The Wicked Witch is dead! Today, the film of this scene is also lost and only a few stills survive, along with a few seconds of footage used on several reissue trailers.

The entire audio still exists and is included on the two-CD Rhino Record deluxe edition of the film soundtrack. In addition, a brief reprise of "Over the Rainbow" was intended to be sung by Garland while Dorothy is trapped in the Witch's castle, but it was cut because it was considered too emotionally intense.

The original soundtrack recording still exists, however, and was included as an extra in all home media releases from onwards.

Extensive edits in the film's final cut removed vocals from the last portion of the film. However, the film was fully underscored , with instrumental snippets from the film's various leitmotifs throughout.

There was also some recognizable popular music, including:. The film's first sneak preview was held in San Bernardino, California.

They continued to perform there after each screening for a week, extended in Rooney's case for a second week and in Garland's to three with Oz co-stars Ray Bolger and Bert Lahr replacing Rooney for the third and final week.

The film opened nationwide on August 25, However, for all the risks and cost that MGM undertook to produce the film, it was considered at least more successful than anyone thought it would be.

The film had been enormously successful as a book, and it had also been a major stage hit, but previous attempts to bring it to the screen had been dismal failures.

The film received much acclaim upon its release. Frank Nugent considered the film a "delightful piece of wonder-working which had the youngsters' eyes shining and brought a quietly amused gleam to the wiser ones of the oldsters.

Not since Disney's Snow White and the Seven Dwarfs has anything quite so fantastic succeeded half so well. Nor can they, without a few betraying jolts and split-screen overlappings, bring down from the sky the great soap bubble in which Glinda rides and roll it smoothly into place.

Writing in Variety , John C. Flinn predicted that the film was "likely to perform some record-breaking feats of box-office magic," noting, "Some of the scenic passages are so beautiful in design and composition as to stir audiences by their sheer unfoldment.

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