A Dorothy Gale é levada por um tornado até a mágica cidade de Oz e vá numa viagem com novos amigos que la ajudar a voltar para casa.A Dorothy Gale é levada por um tornado até a mágica cidade de Oz e vá numa viagem com novos amigos que la ajudar a voltar para casa.A Dorothy Gale é levada por um tornado até a mágica cidade de Oz e vá numa viagem com novos amigos que la ajudar a voltar para casa.
- Ganhou 2 Oscars
- 13 vitórias e 14 indicações no total
The Singer Midgets
- The Munchkins
- (as The Munchkins)
Gladys W. Allison
- Munchkin
- (não creditado)
John Ballas
- Munchkin
- (não creditado)
Franz Balluck
- Munchkin
- (não creditado)
Josefine Balluck
- Munchkin
- (não creditado)
Casper Balsam
- Munchkin
- (não creditado)
John T. Bambury
- Munchkin
- (não creditado)
Enredo
Você sabia?
- CuriosidadesJudy Garland found it difficult to be afraid of Margaret Hamilton, because she was such a nice lady off-camera.
- Erros de gravaçãoAfter 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.
- Citações
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.
- Cenas durante ou pós-créditosToto is listed in the end credits as being played by Toto, when he was actually played by a female dog named Terry.
- Versões alternativasFrom 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.
- ConexõesEdited into A Morte não é o Fim (1950)
Avaliação em destaque
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.
- rzajac
- 11 de nov. de 2004
- Link permanente
Principais escolhas
Faça login para avaliar e ver a lista de recomendações personalizadas
Detalhes
- Data de lançamento
- País de origem
- Central de atendimento oficial
- Idioma
- Também conhecido como
- El mago de Oz
- Locações de filme
- Stage 28, Sony Pictures Studios - 10202 W. Washington Blvd., Culver City, Califórnia, EUA(Witch's castle drawbridge; Wash and Brush Up Company; Witch's entrance hall; Witch's tower room; Yellow Brick Road montage song)
- Empresa de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 2.777.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 24.668.669
- Fim de semana de estreia nos EUA e Canadá
- US$ 5.354.311
- 8 de nov. de 1998
- Faturamento bruto mundial
- US$ 25.637.669
- Tempo de duração1 hora 42 minutos
- Proporção
- 1.37 : 1
Contribua para esta página
Sugerir uma alteração ou adicionar conteúdo ausente