By analyzing the four shots from 18 minutes and 58 seconds until 19 minutes and 43 seconds of screen time of Victor Fleming’s The Wizard of Oz (1939), I will argue that the shots’ mise-en-scene, most notably its transition from black and white to Technicolor and sound composition combined with a sense of awe portrayed by the main character Dorothy (Judy Garland) enables audiences of all ages to become captivated by the fantasy world known as Oz. The Wizard of Oz is not only one of the most well known films of the decade, but it is also ground-breaking in the history of mythmaking/fantasies and classical cinema. The most striking aspect of The Wizard of Oz is its advanced visual composition. At the time, color films were rare and expensive and The Wizard of Oz’s use of Technicolor was a defining aspect in helping to transform and enhance the Land of Oz from ordinary to an extraordinary fantasyland. In addition, the sound composition helps propel the Land of Oz into an even more mystical place.
In shots 1-3, the film is shot in black and white and colored in sepia tone. The black and white film sequences represent life in Kansas. Shot 4, and the whole Oz portion of the film, is filmed in three-strip Technicolor. From 1922 to 1952, Technicolor was the filming process of choice in Hollywood and was characterized as hyper-realistic with saturated levels of color. Prior to the four shot sequence, Dorothy ran away from home after Miss Gulch (Margaret Hamilton) threatens to take away Dorothy’s dog Toto. Dorothy runs into a man in Kansas who warns her that her Aunt Em (Clara Blandick) is very sick. A twister suddenly appears as Dorothy is on her way back home and she is knocked unconscious in her room when a windowpane hits her head. She then experiences a “dream” which transports her to Oz. The use of the word dream is controversial because some argue that Dorothy dreamt the whole adventure in Oz while others argue she actually did experience this fantasyland. Dorothy later on meets the Scarecrow (Ray Bolger), the Tin Man (Jack Haley) and the Cowardly Lion (Bert Lahr) and they all travel through Oz hoping to find the Wizard who will guide Dorothy back home.
Prior to shot 1, Dorothy’s house is seen in the midst of a twister and then is seen landing into Oz. In the first second of shot 1, Dorothy’s room appears to be in the air before landing on the ground. Wind and debris blow through the window causing coats and paintings to crash onto the ground. However, other than a tipped-over chair, the room looks relatively neat for having just experienced the heart of a twister. During the landing, Dorothy is crouching on her bed holding Toto. The only sound that is heard is the house crashing and Dorothy says “Oh!” The shot then goes completely silent. Dorothy looks up and around and tries to regain herself. Dorothy appears scared, yet more curious about where she is. This is shown as she gathers her things relatively quickly in the long shot. Dorothy had been holding Toto throughout the twister, as he is her most beloved possession. She grabs her basket and then reaches for the door. Dorothy looks back and out of the frame in this shot four times. At one point she even lingers when she looks back. Essentially, she is stepping into the fantasy/Land of Oz and out of Kansas. Even though Dorothy looks behind to where Kansas once was, she does not turn back because she is enticed by the allure of what is beyond that door. This scene emphasizes silence, mystery and curiosity. The silence is prominent as no sound is heard- no soundtrack or dialogue. The only sound occurs when Dorothy opens the door as the knob is heard turning, as well as the thump of the door banging into stuff on the floor. The scene emphasizes Dorothy’s curiosity about where she is because she looks back four times but keeps going forward. Also, the dark shadows on the walls and off of Dorothy further emphasize mystery. Dorothy opens the door to solve the mystery.
Through continuity editing, Dorothy is seen in shot 2 coming out of the door. Prior to this shot, in shot 1, Dorothy is last seen reaching for the door. Shot 2 shows Dorothy in a medium shot so that her head and shoulders are visible, as well as the top of Toto. Dorothy is shown in a medium shot to portray her look of bewilderment and curiosity. In this shot we can also appreciate the choice of hairstyle as the pigtails really emphasize Dorothy’s innocence. Toto is included in the medium close up because he is a very important character in The Wizard of Oz. Therefore, it is essential that he be included in the shots leading up to the entrance into Oz. When the shot starts the camera is on Dorothy’s right side allowing the camera to track her progression forward. Then it seems as if Dorothy almost walks out of the camera’s frame until the camera cuts. Again, this shot is silent as Dorothy is unsure what is happening as the transition from Kansas to Oz is in effect. Though a part of the room behind Dorothy is visible, where she will be headed is unknown.
All of a sudden, in shot 3, a large door appears. For almost a whole second it is the only object in the shot. The door takes up most of the shot emphasizing its importance because it represents the break between the old and the new, unknown world. Dorothy excitedly runs up to the door and opens it without looking back. Not only does the camera pan in through the door to reveal for the first time a color picture, a visually pleasing land called Oz, but in addition the audience gets to experience the first view of Oz along with Dorothy allowing for a very intimate feel. As she peeks her head through the door, the audience peeks their head to look at Oz as well. When Dorothy walks through the door the place is larger than life. This shot is really elaborate because it is the only shot in the film that completely changes visual composition (from black and white to Technicolor). In addition, the soundtrack begins when the door to Oz is opened, enhancing this mystical image. The contrast from silence to sound is also important in transforming the film from Kansas to fantasy-life. The sound includes chirping birds, high-pitched chimes, and a slow rhythm to create a peaceful yet magical feel.
Shot 4 helps emphasize the importance of Dorothy, but it also cheats the audience of an instant appreciation of Oz. The audience must wait for the next shot for a full visual description of Oz, therefore building the suspense. In shot 3, the audience only gets a glimpse of Oz. Shot 4 cuts back to Dorothy to allow the audience to really appreciate Dorothy in vibrant colors before showing off Oz. For the first time, Dorothy is shown in color which brings the focus back onto her. She has bright red lips, rosy checks, brown hair and eyes and light blue ribbons in her hair to match her polka dotted dress. Toto is also shown in this mid-shot. In the background we only see the door she leaves behind and a wax-like looking plant.
David Bordwell’s essay Classical Hollywood Cinema: Narrational Principles and Procedures can very much be related to The Wizard of Oz, especially in this shot. It is no secret that The Wizard of Oz follows many of the guidelines in Bordwell’s essay. After all, it was created and filmed during the prosperity of the Classical Hollywood film that Bordwell writes about. The most prominent similarity can be seen when Bordwell talks about the protagonist who drives the narrative of the film who is “the chief object of audience identification.[i]” Dorothy is the sweet, innocent protagonist of The Wizard of Oz who is very easy to identify with. Her innocent appeal is emphasized with her cute dog and her style. Her style is further emphasized by the use of Technicolor. With the use of Technicolor to showoff Dorothy, this mid-shot in shot 4 allows for the audience to directly relate to Dorothy before getting blissfully lost in the Land of Oz. In addition, the director probably shot a mid-shot of Dorothy before he explored Oz to emphasize the curiosity and awe that Dorothy and therefore, the audience, had for the Land of Oz. Dorothy is experiencing so much “awe” that the audience relates to this and experiences this sensation as well. Dorothy and Toto are the main focus of this shot because they help carry along the narrative with their trip through Oz. The chirping birds and the mystical chimes of the music help emphasize the happiness of Oz that has yet to come. The shot ends with Dorothy smiling; she has realized that she is not in Kansas anymore and has found that place “somewhere over the rainbow.”
Clearly, these four shots are important as they capture the aura of Oz and help the audience and Dorothy escape reality and transcend into a dreamlike world. Through use of sound and visual composition like the sharp contrasts from black and white to Technicolor, and a strong focus on the protagonist of the narrative, a sense of awe is established that further enhances the dreamlike fantasy of Oz.
[i] David Bordwell, “Classical Hollywood Cinema: Narrational Principles and Procedures.” Adopted from Narration in the Fiction Film (1995), 18
(See clip of four shots below)
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