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There's No Place As Home

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There's No Place As Home THERE’S NO PLACE AS HOME CONTEXTUAL INFORMATION Tittle – The Wizard of Oz Directors – Victor Fleming, King Vidor, George Cukor, Richard Thorpe, Norman Taurog Cinematographer – Harold Rosson. Major actors – Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Jack Haley, Billie Burke, Margaret Hamilton, Charley Grapewin. Year of release – 1939 Type of film – Blockbuster Genre – Fantasy, suspense – thriller. We adults are most afraid about our fears we developed in our childhood. We live with those scares as well as those frustrations. Many times we wish our life shouldn‟t be as it is and there should be a place somewhere where we can live happily ever after. However, most of an individual‟s sufferings are his/her own undertaking and they fail to take responsibility as well as accountability. By just being who people are at their core, they can open themselves to new adventures living peacefully, in harmony for the rest of their lives. Fantasy, as a genre has long tapped these feelings through the innocent eyes of children, which is the only way for us to reflect on ourselves. This analysis will focus on how Dorothy, a kid, transits herself from real world to the fantasy land through the lens of genre theory as well as how the efforts of filmmakers have assisted the viewers in realizing that „they‟ themselves are between their progress and happiness. In their book „Film: From Watching to Seeing‟, authors Goodyknootz and Jacobs argue that, “Fantasy is a fluid genre that allows crossover with horror, science fiction, comedy films and more. The fantasy film, on its face is pure escapism, where characters may live in ideal settings or experience situations that break the limitations of the real world,” (Goodykoontz, B., & Jacobs, C. P.). In current case, Dorothy lives in what appears to be a war struck Kansas. As Dorothy struggles in her everyday life, she hopes there would be some place far away where life is ideal and there is no pain. “Go to a place where you will not get into any trouble.” This line by Dorothy‟s aunt is seen by her as a reason to escape from her reality which she perceives as harsh and difficult. As kids, the only thing humans want is love from their parents and those around them. Children expect that parents understand their emotions, their feelings and their problems. In Wizard of Oz, Dorothy faces similar dilemma where no one is ready to understand her. Further, panic strikes when her most beloved life mate, her pet dog Toto is taken away from her. As an attempt to rescue him, when Dorothy tries to come back home, a tornado strikes taking away all hope from her life as she feels alone and helpless. These story characteristics are typical for the genre of fantasy where we can relate ourselves to the turning of events on screen that usually happen in the real world. When Dorothy cannot take any more of real Kansas, she is transported to Munchkinland, a place over the rainbow created by her own imagination with the tornado acting as a transition between the two worlds. When Dorothy opens the door of her house, in Munchkinland, she not only enters a new, fantasy world bright with colors, but with her, we are transformed into a heightened and imaginary reality. The use of colors is impeccable as we can literally feel them with all their brightness, richness and glory. As Timmerman argue in his book Other World – The Fantasy Genre‟, “A fantasy is a journey. It is a journey into the subconscious mind, just as psychoanalysis is. Just as psychoanalysis, it can be dangerous and it will change you,” (Timmerman, J. pg. 3). The Wizard of Oz depicts similar traits. After learning from the good fairy that she has to meet the old Wizard to go back to Kansas, she sets on a journey that is an adventure in itself but self-awakening in disguise. Initiating retrospection on us, our emotions and our beliefs through fictional characters such as the Scarecrow, the Tinman and the Lion, these characters are used by the film to portray our insecurities as well as our fears. Slowly but surely, evil creeps even into this dreamland in the form of the black wizard. As Griswold writes in his article „There‟s no place but home: The Wizard of Oz,‟ stating that “Dorothy cannot escape her troubles by going elsewhere,” (Griswold, J). This evil is characteristic of Dorothy‟s real world, as the attorney of Mayor who arrested her dog in real world is the evil black wizard in this fantasy land. As Hollywood screenwriter Todd Alcott writes about the characteristic story of the movie, “Realizing that this place is no better than the place she left, Dorothy asks to go home,” (Alcott, T). There are many obstacles set in the path by the cunning witch which Dorothy and her friends have to overcome in order to get to Emerald city to meet the wise Wizard. As they come to know that the Wizard is none other than a breathing human similar to them, they shed a light on their journey realizing that they are the creators of their own destiny. They realize that whatever is required to make a person happy is present inside them and they don‟t have to look outwards, but rather inwards to find it. As an acknowledgement of their journey, the scarecrow gets a diploma asserting he has a brain, a medal to the Lion for his courage and a heart-shaped clock signifying presence of heart for the Tinman. Thus, the Wizard of Oz uses conventional fantasy plot points creatively to tell this story but in doing so also extends the limitations of the fantasy genre by meddling in thriller as well as horror genre. The relationship of Dorothy and other characters follows a dramatic structure creating a thrilling ride for the viewers and helping viewers retrospect on their innermost insecurities while assisting them in acknowledging them and using them as strengths. The filmmakers also had a huge role to play in creating as well as portraying these emotions on screen specifically in the departments of cinematography, music, aesthetics as well as the use of Technicolor. Until we reach to the end, we are awestruck by the simplicity in which the film has portrayed these ideas yet the profoundness in which they have impacted us. Jason Fraley who writes for „Film Spectrum‟ clearly emphasizes the social impact of the film as well as on the film as he explains, “Imagine how magical it must have been for Depression – era audiences to start off watching a dreary, sepia Kansas and then suddenly have Dorothy open the door to a world of color?” (Fraley, J). 1939 can be regarded as some of the worst times in history as a result of The Great Depression and its resulting daunting effects as well as World War 2 around the corner. What people needed at that time was hope even though it might come in the form of escapism. Escapism from the harsh truths of reality into a less taxing fantasy land was desired at that time. The Wizard of Oz delivered just that through the lens of an innocent girl. This innocence not only resonated within audiences that watched it at that time, but also for generations to come after that. References Griswold, J. (1987). There's No Place but Home: The Wizard of Oz. The Antioch Review, 45(4), 462-475. doi:10.2307/4611799. Alcott, T. Fairies and Fantasy: The Wizard of Oz Part 1. Todd Alcott. Retrieved from http://www.toddalcott.com/fairies-and-fantasy-the-wizard-of-oz-part-1.html. Goodykoontz, B., & Jacobs, C. P. (2014). Film: From watching to seeing (2nd ed.) (Electronic version). Retrieved from https://content.ashford.edu. Timmerman, J. Other World – The Fantasy Genre. Ohio: Bowling Green University. Fraley, J. “The Wizard of Oz.” Film Spectrum. Retrieved from http://thefilmspectrum.com/?p=3634. .
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