‘Why, it’s a man!’ It’s Oz: The Great and Powerful – REVIEW

The character work in Great and Powerful is hit and miss. After sleepwalking through his Oscar-hosting gig and Rise of the Planet of the Apes, James Franco is suddenly awake again, an irony of sorts since Oz is a dreamland. In the absence of tin men, cowardly lions, and scarecrows we get a flying monkey and a china doll as companions to the hero and while they're cute they won't become iconic companions. The movie has the most trouble, though, with its three witches: Michelle Wiliams cuts a hypnotic figure as "Glinda the Good" but the movie doesn't give her any opportunity to flesh out the character and strangely there's not a hint of the prissy humor that defined the character in both Billie Burke and Kristin Chenoweth's takes so she doesn't always feel like Glinda per se; Rachel Weisz has the least to do as "Evanora" but she's good with a line reading; But Mila Kunis is, I'm sad to say, an absolute disaster as her sister "Theodora." Some actors understand style and the heightened qualities of genre acting but Kunis is utterly lost which handicaps the movie considerably.

But the most disappointing thing about Great and Powerful which is a bit better than it ought to be thanks to Sam Raimi's visual giddiness, is that there's just not much to talk about that isn't in some way a paraphrase of "So… how about that the immortal 1939 musical!?!"  So why fight it…


My absolute favorite soundbyte from The Wizard of Oz (and the competition is stiff) though not my favorite shot is when Dorothy Gale discovers the Tin Man, feet first. The camera pans up with Dorothy's eye from legs to crotch to torso to face.  "Why, it's a man!" 

For all of that clip's gay camp value, it's completely asexual; Dorothy is never thinking about boys. If The Wizard of Oz is an innocent child, than Great and Powerful is a horny teenager. But unlike the 1939 classic it serves the male ego despite the largely female cast.  When the claws come out (literally), it's weirdly sexist as a result.

Look I'm not above a good cat fight. There's almost nothing funnier in The Wizard of Oz than Glinda's helium-voiced Queen Bee dismissals of the Wicked Witch ("only bad witches are ugly"). In fact, the original cattiness enabled a whole modern wave of sympathy for the devil (i.e. The Wicked Witch of the West) in rethinks like "Wicked" and Great and Powerful that wondered how she got that way. But at its heart the 1939 classic was a heroine's journey that spun on the bravery and kindness of a young girl testing her strength and resolve in a frightening world.  

Though the three witches in Oz are all quite powerful, they are rendered powerless when a man enters the equation. Even a man who admits he is without power. It's not really about about who sits on the Emerald City's throne but who sits beside the man who will sit there. The plot spins not on transporting tornadoes but on the con-artist's seductive charms and HOW CRAZY WOMEN GET IF A MAN DOESN'T LOVE THEM! 'Someday their Prince/Wizard will come' being the takeaway. If you're really going to Follow the Mighty Dick Road at least have a little camp fun with your ode to the patriachy ! Great and Powerful hedges its bets here by taking it too seriously and extending an olive branch to the Wicked Witch because it's not her fault she's so crazy. James Franco, you see, is just too irresistible in Sepia or Technicolor. 


P.S. If you'd rather just skip the new movie and just think about The Wizard of Oz again, here's a fun breakdown from Vulture about what the 1939 film is really about and a "best shot" party I hosted, wherein bloggers praised their personal favorite images from the film.

Nathaniel Rogers would live in the movie theater but for the poor internet reception. He blogs daily at the Film Experience. Follow him on Twitter @nathanielr.