Post by StevePulaski on Mar 9, 2013 17:50:37 GMT -5
James Franco and Mila Kunis.
Rating: ★★★
The 1939 film The Wizard of Oz has become such a strong, beloved classic that many forget, or don't even know, that it originated from a beloved series of books prior to its transition on film. The last time I visited the Yellow Brick Road and the gray-toned, Kansas farmland had to be about two or three years ago, when the 70th anniversary edition was released in an expensive, yet worthy set. But in the present, it was only a matter of time before a visual filmmaker took on the challenge of remaking, rebooting, or making some sort of addition to the wonderful land of Oz, and, likewise, visionaire extraordinaire Sam Raimi stepped up to the plate to make a prequel to one of the most iconic, imaginative places in film history.
Oz: The Great and Powerful is a joyous moviegoing experience, and a complete break from some of the worst drivel the beginning months of a year could provide us with. We open in 1905 Kansas with con-artist Oscar "Oz" Diggs hosting his circus show (and yes, the entire first twenty minutes are captured in a 1.33:1 ratio (where only about a third or more of the screen is used, which will evolve into 1.78:1 once we hit that magical place of Oz). Oz, who we see is a womanizer and a rather selfish cad, puts on a circus show, is discovered to be a fraud, and takes off in a hot air balloon after being chased by two very strong men.
He gets caught up in a rough twister, and lands in the remarkably colorful world of Oz, where he first runs into Theodora (Mila Kunis). Theodora informs him that he is the one they read about in the Oz prophecies, which state that a man bearing the name of Oz will fall from the heavens to save and protect the land for eternity. Oz, who is fully aware that this is a bizarre coincidence, decides to play along and use his con-artist abilities to bathe in the gold he doesn't deserve and the luxuries as well. It is then that he finds out that he must defeat The Wicked Witch of the West in order to collect his earnings.
Along the way, Oz runs into some eclectic characters, who are not as memorable as such beloved figures as the Tin Man, the Cowardly Lion, or the Scarecrow, but are welcomed additions to the story. They are a gorgeous porcelain doll, a loquacious monkey (voiced by Zach Braff), the annoying fanfare player (Tony Cox), and his love interest, Glinda the Good Witch (Michelle Williams). Giving these side-characters their time to shine further makes Oz excel at its overall goal; to be fun-loving, immersing, and innocent and inviting.
If there's one piece of negativity I can get out of the way, it's that it takes a little while for the actors to completely assume their roles. For example, Franco needs about forty-five minutes before he becoming truly a charismatic, likable lead character, as he seems often outgunned in this big role. Mila Kunis is, surprisingly, a little wooden here, until the inevitable twist occurs, Michelle Williams is sometimes too bubbly, and Rachel Weisz's seems somewhat shortchanged, until her sassiness comes out. It takes a while for this cast to prove they work in their roles, but when they do, it becomes a miracle.
Something must be said about the visual effects here, which are stunning and beautifully crafted. If nothing else visually satisfying comes out within the next nine months, I dare say that this could win Best Visual Effects/Best Costume Design at next year's Oscars. The colors are vibrant, the atmospheres are lush, and the entire effect it has on a viewer, young or old, is eye-popping and awe-inspiring. In a time where visual effect industries are greatly hurting, and the studio Rhythm and Hues can win an Oscar for their magnificent work on Life of Pi, yet still need to file for bankruptcy, there needs to be more of an appreciation for the fine area in film in-and-of itself.
Alongside the visuals, the other strongest element for Oz's success is the way it erects this stunning world, complete with eccentric characters we're sure to remember and events that make us simply tingle. The easiest thing to compare this to is Tim Burton's recent retelling of Alice in Wonderland, a film that was dark and stylish, yet somewhat redundant seeing as that was the umpteenth time someone had told the story of Alice visiting the enchanted world. Here, it was wonderful to see the world of Oz on the big screen again, revised and made extravagant for 2013 by a true visionary of a filmmaker. If there's one thing I can say for this experience, it ain't Alice in Wonderland Redux.
On a final note, the audience I saw Oz with was comprised of about sixty people, of all different ages, who had to be the most energetic, positive, and marveled audiences I've ever sat with. Seeing the 2D showing at an early-morning matinee, everyone seemed to applaud every mythical set-piece, laugh at every small joke, pun, or cute instance, and even shriek in terror during the final sequences. One thing that Walt Disney, and Raimi, for that matter, had to be concerned about was how audiences would perceive and respond to revisiting a classic place that was portrayed so wonderfully back in 1939. I assume the overwhelming positivity was showing what kind of effect the world of Oz has on viewers; it's whimsical, bright, vibrant, occasionally dark, but always impressively invigorating.
My video review of Oz: The Great and Powerful, www.youtube.com/watch?v=4lqdyiUpxIA
Starring: James Franco, Mila Kunis, Michelle Williams, Rachel Weisz, Zach Braff (voice), and Tony Cox. Directed by: Sam Raimi.