Written By: L. Frank Baum Illustrated By: WW Denslow Screenplay By

Total Page:16

File Type:pdf, Size:1020Kb

Written By: L. Frank Baum Illustrated By: WW Denslow Screenplay By Written by: L. Frank Baum Screenplay by: Noel Langley, Florence Ryerson, and Edgar Allen Illustrated by: W.W. Denslow Woolf Directed by: Victor Fleming L. Frank Baum •Born: Chittenango, New York on May 15, 1856 •Benjamin Ward Baum was a successful businessman and oil speculator. They lived in a large estate east of Syracuse, called Rose Lawn. •Frank and his brothers played in lush fields and nearby woods between being tutored by traveling teachers. Frank’s imagination flourished. A scarecrow he once saw, inspired, Scarecrow in his stories. •Frank’s father bought him a printing press. He printed his own paper called: The Rose Lawn Home Journal. •Frank begin writing plays and managed theatre companies his father owned. L. Frank Baum •Frank married Maud Gage in 1882. •Frank and Maud moved to Aberdeen, South Dakota. He opened a store called Baum Bazaar, which was like Wawa. •However in 1889, he lost the store due to the drought and a deepening depression that plagued the pastoral area. •Frank started another newspaper called, The Aberdeen Saturday Pioneer. He wrote a story numerous time about a tornado that picked up a house. •The grayness and lack of financial opportunity led Frank and his family to move to Chicago. •In the Wonderful Wizard of Oz, Baum describes the town as gray 9 times. L. Frank Baum •Frank was inspired by the technology and beauty of the Chicago World Fair. He saw bright electricity, the first Ferris wheel, and a moving camera prototype. •In 1877, he published his first book, Mother Goose in Prose. It was followed by Father Goose, His Book. •Frank was telling a story about characters named, Dorothy, the Scarecrow, and the Tin Woodman when he discovered the name of the magic land they would travel to. He looked at the bottom of a filling cabinet draw, it said: O-Z. The Wonderful Wizard of Oz •Written by L. Frank Baum and illustrated by W. W. Denslow. •Published: 1990 •Baum and Denslow wanted the book in color. The publisher was concerned about the cost to print the color plates. Baum and Denslow paid for the additional cost to include color plates. •Adding color helped make the book a huge successes. •The Wonderful Wizard of Oz was considered America’s first original fairy tale. •There were 13 written sequels. L. Frank Baum, the Real Wizard •The Wonderful Wizard of Oz was published in 1900 but only after Frank and W.W. Denslow paid to have 24 color plates included in the book. It was an overnight success. •Baum wrote and directed Broadway plays, but his success was writing 13 more Oz books. The final book was published in 1920, the year after his death. •Before Baum’s death, The Wonderful Wizard of Oz was performed on stage from 1903-1911, with almost 300 shows. L. Frank Baum, the Real Wizard •Baum’s child home was surrounded by flowers, just like the lavish and colorful plants describe in the book. •Baum saw a scarecrow that later became one of his major characters. •Baum wrote about a tornado that picked up a house in his newspaper. This story was featured many times. •The gray dark Dakota years inspired the grayed description of Kansas. •Baum’s mother-in-law was an advocate for women’s right, and inspired the strong-willed Dorothy. •Baum loved science and technology. We he went to the Chicago World Fair, the beautiful sparkling city inspired his creation of Emerald City. The Wizard of OZ (1939) •Screenplay by: Noel Langley, Florence Ryerson, and Edgar Allen Woolf •Directed by: Victor Flemming •Starring: Judy Garland (Dorothy). Frank Morgan (The Wizard), Ray Bolger (The Scarecrow), Bert Lahr (The Cowardly Lion), Jack Haley (The Tin Man), Billie Burke (Glinda), Margaret Hamilton (The Wicked Witch of the West), and Toto. •Release Date: MGM Studios, August 25, 1939 •Re-released: TV, CBS, 1959-1991 The Wizard of OZ •Though Victor Fleming was credited as director, The Wizard of OZ had 4 directors in total: Richard Thorpe (almost two weeks), George Cukor (two or three days), Victor Fleming (four months), and David O. Selznick (went to direct, Gone with the Wind). •It took 14 writers to recreate Baum’s classic book. •The box office success was modest, only earning about $3 million, and it took $3 million to produce and market the film. However, after being aired on national television, The Wizard of OZ total gross income is around $27,000,000. •The Wizard of OZ lost an Academy Award to the hugely successful Civil War-era epic, Gone with the Wind. The Wizard of OZ (Technicolor) •In 1939, color film stock still had not been invented. However, The Wizard of OZ used the very expensive Technicolor company cameras which incorporated a 3-strip color process. •Technicolor did not film in color. It used red, green, and blue filters that recorded the same scene through each different filter. When placed together, the film strip created vibrant colors. •Prior to Technicolor, film makers would have to individually color film strips by hand. This was very expensive. •For the colors to be more visible, the film needed intense lighting. MGM used 150 36-inch arc lamps. It cost the film over $220,000. •The temperatures on the set sometimes reached over 100 degrees F. The lights also caused sometimes permanent eye damage. The Wonderful Wizard of Oz (Book) vs. The Wizard of Oz (Film) Dorothy’s Famous Slippers •In Baum’s book, the slippers were silver. The silver shoes on the yellow brick road, and the emerald green city were to represent “The Gold Standard”, or to represent money, gold, and silver. •However, changing them to red ruby slippers made them more eye- catching, and were forever remembered as one of the most beautiful parts of the film. Emerald City •In Baum’s book, Emerald City was inspired by Baum’s 1893 visit to the White City at the Chicago World’s Fair. •Also in the book, characters had to wear glasses that made everything appear to be green. However, the city was not green. It was a trick Oz crafted so people would believe their city was different than other cities. •“No more than in any other city,” replied Oz; “but when you wear green spectacles, why of course everything you see looks green to you” (Baum 137). •To make Emerald City seem beautifully different than other cities, everything is color—even the horses are a different color. •The cabby in the Emerald City says, “No—and never will again, I fancy. There’s only one of him, and he’s it. He’s the Horse of a Different Color, you’ve heard tell about” (Langley, Ryerson, Woolf 156). The Two Dorothy’s Book: Dorothy was inspired and representational of the strong pioneer woman. She was often rescuing characters rather than be rescued. Film: Dorothy is the damsel in distress, and often saved by other (Male) characters Book: Dorothy is a young girl. Film: Dorothy is a teenager. Judy Garland had to wear a corset to make her look younger. Book/Film: Dorothy is an orphan. She follows the traditional hero myth of having to overcome being parentless. Color Plates and Technicolor •Baum and Denslow paid for the additional cost to include 24 color plates. The mass production of colored Wonderful Wizard of Oz books made the story even more successful. • Technicolor’s expensive and meticulous process of blending 3 different color filters on their camera lens made The Wizard of Oz revolutionary because of its dynamic colors. Though there had been color films before, The Wizard of Oz was first to massively produce and screen a “colored film” in theatres across the country. .
Recommended publications
  • Baby Snooks: Why, Daddy?
    baby_snooks_4pg.qxd:4 pg. Booklet 8/18/09 2:51 PM Page 1 Track 7: Baby Buggy - July 2, 1942 – Daddy thinks that he’ll be able to use the old baby buggy to transport the twins, but the Baby Snooks: vehicle will need a few modifications. (9:48) CD 4 Why, Daddy? Track 1: The Camp Report: September 3, 1942 – Daddy welcomes Snooks back after her stay at summer camp, and is Program Guide by Ivan G. Shreve, Jr. looking forward to reading her camp report…but, first bedtime. (8:07) During the Golden Age of Radio, audiences were treated to a “brat triumvirate.” The best- known of the radio brats was wisenheimer Charlie McCarthy, who along with partner (read: Track 2: Baby Snooks Goes to a Movie - September 24, 1942 – ventriloquist) Edgar Bergen entertained audiences for nearly twenty years with the ultra-popular Going to the movies is a pleasure for some…but, since Daddy The Chase & Sanborn Hour . In the 1940s, comedian Red Skelton introduced demon-on- has to take Snooks and the twins it’s akin to walking the last wheels “Junior, the mean widdle kid” on his Raleigh Cigarette Program . Hanley Stafford as the long-suffering mile. (8:51) “Daddy” with Brice as Snooks. The last member of this trio of incorrigibles was Baby Snooks, played by famed musical Track 3: Gozinta - October 1, 1942 – Daddy is suffering from a case of insomnia, so Snooks comedy star Fanny Brice. Brice began her show business career at the age of twelve, earning takes advantage of his sleepless state to con him into helping her with her homework.
    [Show full text]
  • The Wonderful Wizard of Oz" and Boris Pasternak's "Doctor Zhivago"
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2011 Orphanhood and the Search for Home in L. Frank Baum's "The Wonderful Wizard of Oz" and Boris Pasternak's "Doctor Zhivago" Amanda Marie Peterson The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Peterson, Amanda Marie, "Orphanhood and the Search for Home in L. Frank Baum's "The Wonderful Wizard of Oz" and Boris Pasternak's "Doctor Zhivago"" (2011). Graduate Student Theses, Dissertations, & Professional Papers. 725. https://scholarworks.umt.edu/etd/725 This Professional Paper is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. ORPHANHOOD AND THE SEARCH FOR HOME IN L. FRANK BAUM’S THE WONDERFUL WIZARD OF OZ AND BORIS PASTERNAK’S DOCTOR ZHIVAGO By Amanda Marie Peterson B.A., University of Montana, Missoula, Montana 2001 Professional Paper presented in partial fulfillment of the requirements for the degree of Master of English Literature The University of Montana Missoula, MT December 2011 Approved by: Sandy Ross, Associate Dean of The Graduate School Graduate School Casey Charles, Chair Department of English Sean O’Brien Department of English Ona Renner-Fahey Department of Modern and Classical Languages Peterson, Amanda, M.A., Fall 2011 English Literature Orphanhood and the Search for Home in L.
    [Show full text]
  • The Cowardly Lion
    2. “What a mercy that was not a pike!” a. Who said this? b. What do you think would a pike have done to Jeremy? Ans: a. Jeremy said this. b. A pike would have eaten Jeremy. THE COWARDLY LION A. Answer in brief. 1. Where were Dorothy and her friends going and why? Ans: Dorothy and her friends, the Scarecrow and the Tin Woodman, were walking through the thick woods to reach the Emerald City to meet the Great Wizard of Oz. 2. What did the Cowardly Lion do to the Scarecrow and the Tin Woodman while they were walking through the forest? Ans: With one blow of his paw,the Cowardly Lion sent the Scarecrow spinning over and over to the edge of the road. Then he struck at the Tin Woodman with his sharp claws. 3. Why did the Cowardly Lion decide to go with them and what did they all do? Ans: The lion wanted to ask Oz to give him courage as his life was simply unbearable without a bit of courage. So, they set off upon the journey, the Cowardly Lion walking by Dorothy’s side. B. Answer in detail. 1. What did the lion reply when Dorothy asked him why he was a coward? Ans: When Dorothy asked him why he was a coward, the lion said that it was a mystery. He felt he might have been born that way. He learned that if he roared very loudly, every living thing was frightened and got away from him. But whenever there was danger, his heart began to beat fast.
    [Show full text]
  • Baum's Dorothy and the Power of Identity
    Pay 1 Camille Pay Baum’s Dorothy and the Power of Identity Discussions of Baum’s The Wonderful Wizard of Oz have highlighted the relationship between Dorothy as an individual and Oz as a whole. When this relationship is put into the context of change in American identity, one can see how Dorothy’s identity connects to the new- found identity of the middle-class American. Just before Baum wrote The Wizard , American identity had gone through a large shift. Because of a greater wage for the rising middle class, individuals found themselves playing a key role in their communities. Of course, there was a tension between the old American identity and the new American identity; and, dealing with this tension became the duty of authors (“American” 27.) Even as this change in identity was present, critics chose to focus on the political impact of Dorothy as a character in The Wizard . Most critics see Dorothy as the beginning of political change. An example of this is the work of J. Jackson Barlow, who argues that not only did Dorothy commence Oz’s change from an uncivilized land to a civilized land, but that this change was democratic (8). David Emerson agrees that Dorothy’s influence was felt in Oz, but he thinks that Dorothy’s role is to be the “motivating will (fire)” behind her and her companions achieving their goal (5). Littlefield adds to the conversation of Barlow and Emerson by inserting that even though Dorothy was the one to produce change, Dorothy gets involved in the politics of Oz, only to leave Oz to go “home” to Kansas.
    [Show full text]
  • A Rhetorical Analysis of Wicked's Elphaba
    “IT’S JUST THAT FOR THE FIRST TIME, I FEEL… WICKED”: A RHETORICAL ANALYSIS OF WICKED’S ELPHABA USING KENNETH BURKE’S GUILT-PURIFICATION-REDEMPTION CYCLE by Patricia C. Foreman A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree Master of Arts in Communication Studies at Liberty University May 2013 Foreman 2 Acknowledgements First and foremost, to “my Dearest, Darlingest Momsy and Popsicle,” and to my brother Gary, thank you so much for your constant support, encouragement, direction and love. I appreciate your words of wisdom and advice that always seem to be just what I need to hear. To each of my fellow graduate assistants, thank you for “dancing through life” with me. Thank you for becoming not only co-workers, but also some of my best friends. To my thesis committee – Dr. William Mullen, Dr. Faith Mullen, and Dr. Lynnda S. Beavers – thank you all so much for your help. This finished thesis is, without a doubt, the “proudliest sight” I’ve ever seen, and I thank you for your time, effort and input in making this finished product a success. Finally, to Mrs. Kim, and all of my fellow “Touch of Swing”-ers, who inspired my love of the Wicked production, and thus, this study. For the long days of rehearsals, even longer nights on tour buses, and endless hours of memories that I’ll not soon forget... “Who can say if I’ve been changed for the better? I do believe I have been changed for the better. And because I knew you, I have been changed for good.” Foreman 3 In Memory Of… Lauren Tuck May 14, 1990 – September 2, 2010 “It well may be that we will never meet again in this lifetime, so let me say before we part, so much of me is made of what I learned from you.
    [Show full text]
  • A Dark, Uncertain Fate: Homophobia, Graphic Novels, and Queer
    A DARK, UNCERTAIN FATE: HOMOPHOBIA, GRAPHIC NOVELS, AND QUEER IDENTITY By Michael Buso A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida May 2010 ACKNOWLEDGMENTS This thesis would not have been possible without the fundamental assistance of Barclay Barrios, the hours of office discourse with Eric Berlatsky, and the intellectual analysis of Don Adams. The candidate would also like to thank Robert Wertz III and Susan Carter for their patience and support throughout the writing of this thesis. iii ABSTRACT Author: Michael Buso Title: A Dark, Uncertain Fate: Homophobia, Graphic Novels, and Queer Identity Institution: Florida Atlantic University Thesis Advisor: Dr. Barclay Barrios Degree: Master of Arts Year: 2010 This thesis focuses primarily on homophobia and how it plays a role in the construction of queer identities, specifically in graphic novels and comic books. The primary texts being analyzed are Alan Moore’s Lost Girls, Frank Miller’s Batman: The Dark Knight Returns, and Michael Chabon’s prose novel The Amazing Adventures of Kavalier and Clay. Throughout these and many other comics, queer identities reflect homophobic stereotypes rather than resisting them. However, this thesis argues that, despite the homophobic tendencies of these texts, the very nature of comics (their visual aspects, panel structures, and blank gutters) allows for an alternative space for positive queer identities. iv A DARK, UNCERTAIN FATE: HOMOPHOBIA, GRAPHIC NOVELS, AND QUEER IDENTITY TABLE OF FIGURES ....................................................................................................... vi I. INTRODUCTION ................................................................................................... 1 Theoretical Framework ..................................................................................................
    [Show full text]
  • Rinkitink in Oz
    RINKITINK IN OZ Wherein is recorded the Perilous Quest of Prince Inga of Pingaree and King Rinkitink in the Magical Isles that lie beyond the Borderland of Oz By L. Frank Baum “Royal Historian of Oz” Rinkitink of Oz Introducing this Story Here is a story with a boy hero, and a boy of whom you have never before heard. There are girls in the story, too, including our old friend Dorothy, and some of the characters wander a good way from the Land of Oz before they all assemble in the Emerald City to take part in Ozma’s banquet. Indeed, I think you will find this story quite different from the other histories of Oz, but I hope you will not like it the less on that account. If I am permitted to write another Oz book it will tell of some thrilling adventures encountered by Dorothy, Betsy Bobbin, Trot and the Patchwork Girl right in the Land of Oz, and how they discovered some amazing creatures that never could have existed outside a fairy-land. I have an idea that about the time you are reading this story of Rinkitink I shall be writing that story of Adventures in Oz. Don’t fail to write me often and give me your advice and suggestions, which I always appreciate. I get a good many letters from my readers, but every one is a joy to me and I answer them as soon as I can find time to do so. “OZCOT” at HOLLYWOOD in CALIFORNIA, 1916. L. FRANK BAUM Royal Historian of Oz 2 L Frank Baum LIST OF CHAPTERS 1 The Prince of Pingaree 2 The Coming of King Rinkitink 3 The Warriors from the North 4 The Deserted Island 5 The Three Pearls 6 The Magic Boat 7 The
    [Show full text]
  • Dorothy, Scarecrow, Tin Woodsman, Lion, Oz Setting: Dorothy, Toto, Scarecrow, Tin Woodsman and Lion Are in the Throne Room of Oz for the First Time
    The Wonderful Wizard of Oz Audition Lines Reading 1 Characters: Dorothy, Scarecrow, Tin Woodsman, Lion, Oz Setting: Dorothy, Toto, Scarecrow, Tin Woodsman and Lion are in the throne room of Oz for the first time. OZ: (A large painted face appears above a green screen. The voice is loud and frightening.) I am Oz, the Great and Terrible. Who are you, and why do you seek me? DOROTHY: I am Dorothy, the Small and Meek. OZ: Where did you get the ruby slippers? DOROTHY: I got them from the Wicked Witch of the East when my house fell on her. Oh, please, Your Honor, send me back to Kansas where my Aunt Em is. I’m sure she’ll be worried over my being away so long. OZ: Silence!!! (Alarmed, Dorothy steps right, Toto follows.) Step forward, Tin Woodsman! TIN WOODSMAN: (Gulping in fear.) Yes, Your Wizardship? OZ: What do you seek from the great and terrible Oz, you miserable pile of clanking junk! (Lion and Scarecrow are about to faint. Tin Woodsman isn’t doing much better. His knees are knocking.) TIN WOODSMAN: I have no heart. Please give me a heart that I may be as other men are. (He drops to his knees, implores.) Please, please, oh, great and terrible Oz! OZ: Silence!!! (Tin Woodsman scurries back to others on his knees.) Step forward, Scarecrow! SCARECROW: (Moves out, his wobbly arms and legs moving in all directions at once.) If I had any brains I’d be terrified. OZ: So, it’s brains you want, you poor excuse for a crow’s nest.
    [Show full text]
  • To the Baum Bugle Supplement for Volumes 46-49 (2002-2005)
    Index to the Baum Bugle Supplement for Volumes 46-49 (2002-2005) Adams, Ryan Author "Return to The Marvelous Land of Oz Producer In Search of Dorothy (review): One Hundred Years Later": "Answering Bell" (Music Video): 2005:49:1:32-33 2004:48:3:26-36 2002:46:1:3 Apocrypha Baum, Dr. Henry "Harry" Clay (brother Adventures in Oz (2006) (see Oz apocrypha): 2003:47:1:8-21 of LFB) Collection of Shanower's five graphic Apollo Victoria Theater Photograph: 2002:46:1:6 Oz novels.: 2005:49:2:5 Production of Wicked (September Baum, Lyman Frank Albanian Editions of Oz Books (see 2006): 2005:49:3:4 Astrological chart: 2002:46:2:15 Foreign Editions of Oz Books) "Are You a Good Ruler or a Bad Author Albright, Jane Ruler?": 2004:48:1:24-28 Aunt Jane's Nieces (IWOC Edition "Three Faces of Oz: Interviews" Arlen, Harold 2003) (review): 2003:47:3:27-30 (Robert Sabuda, "Prince of Pop- National Public Radio centennial Carodej Ze Zeme Oz (The ups"): 2002:46:1:18-24 program. Wonderful Wizard of Oz - Czech) Tribute to Fred M. Meyer: "Come Rain or Come Shine" (review): 2005:49:2:32-33 2004:48:3:16 Musical Celebration of Harold Carodejna Zeme Oz (The All Things Oz: 2002:46:2:4 Arlen: 2005:49:1:5 Marvelous Land of Oz - Czech) All Things Oz: The Wonder, Wit, and Arne Nixon Center for Study of (review): 2005:49:2:32-33 Wisdom of The Wizard of Oz Children's Literature (Fresno, CA): Charobnak Iz Oza (The Wizard of (review): 2004:48:1:29-30 2002:46:3:3 Oz - Serbian) (review): Allen, Zachary Ashanti 2005:49:2:33 Convention Report: Chesterton Actress The Complete Life and
    [Show full text]
  • MEMORY of the WORLD REGISTER the Wizard of Oz
    MEMORY OF THE WORLD REGISTER The Wizard of Oz (Victor Fleming 1939), produced by Metro-Goldwyn-Mayer REF N° 2006-10 PART A – ESSENTIAL INFORMATION 1 SUMMARY In 1939, as the world fell into the chaos of war, Metro-Goldwyn-Mayer released a film that espoused kindness, charity, friendship, courage, fortitude, love and generosity. It was dedicated to the “young, and the young in heart” and today it remains one of the most beloved works of cinema, embraced by audiences of all ages throughout the world. It is one of the most widely seen and influential films in all of cinema history. The Wizard of Oz (1939) has become a true cinema classic, one that resonates with hope and love every time Dorothy Gale (the inimitable Judy Garland in her signature screen performance) wistfully sings “Over the Rainbow” as she yearns for a place where “troubles melt like lemon drops” and the sky is always blue. George Eastman House takes pride in nominating The Wizard of Oz for inclusion in the Memory of the World Register because as custodian of the original Technicolor 3-strip nitrate negatives and the black and white sequences preservation negatives and soundtrack, the Museum has conserved these precious artefacts, thus ensuring the survival of this film for future generations. Working in partnership with the current legal owner, Warner Bros., the Museum has made it possible for this beloved film classic to continue to enchant and delight audiences. The original YCM negatives have been conserved at the Museum since 1975, and Warner Bros. recently completed our holdings of the film by assigning the best surviving preservation elements of the opening and closing black and white sequences and the soundtrack to our care.
    [Show full text]
  • A Day at the Movies
    A DAY AT THE MOVIES VIDEO #1 “FROM THE RED CARPET” (Group 6) HOSTS WELCOME Nawal: Welcome to the Connection Film Institute Salute. Sarah: Today we will salute great musical moments in film history . Nawal: . and the top movie quotes of all time! Sarah: First is a song from 1968 Best Picture Winner, Oliver! Sarah and Nawal: On with the show! CONSIDER YOURSELF (ALL) Consider yourself at home. Consider yourself one of the family. We've taken to you so strong. It's clear we're going to get along. Consider yourself well in Consider yourself part of the furniture. There isn't a lot to spare. Who cares?..What ever we've got we share! If it should chance to be We should see Some harder days Empty larder days Why grouse? Always a-chance we'll meet Somebody To foot the bill Then the drinks are on the house! Consider yourself our mate. We don't want to have no fuss, For after some consideration, we can state... Consider yourself…One of us A DAY AT THE MOVIES SILENT MOVIES - BLACK AND WHITE VIDEO SEQUENCE #2 FILM QUOTES KEYSTONE COPS/ CHARLIE CHAPLIN (Group 5) Silent Movie Scene ANIMAL CRACKERS IN MY SOUP (GROUP 1) Animal crackers in my soup Monkeys and rabbits loop the loop Gosh oh gee but I have fun Swallowing animals one by one In every bowl of soup I see Lions and Tigers watching me I make 'em jump right through a hoop Those animal crackers in my soup When I get hold of the Big Bad Wolf I push him under to drown Then I bite him in a million bits And I gobble him right down When they’re inside me where it’s dark I walk around like Noah’s Ark I stuff my tummy like a “goop” With Animal Crackers in my soup! ON THE GOOD SHIP LOLLIPOP (GROUP 2) On the good ship lollipop.
    [Show full text]
  • Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
    Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense.
    [Show full text]