A Night with Maureen O'Hara

Recently, my husband and I drove to the birthplace of John Wayne of Winterset, Iowa. Every year, the entire town holds a big gala to commemorate the Duke's birthday with a 3-day series of special events which takes place the weekend closest to his birthday anniversary (May 26, 1907). I'm not gonna lie, I'm a fan of really good classic westerns. Ergo, I'm a John Wayne fan. But when I discovered this particular year's theme and special guest, we simply HAD to go see... Maureen O'Hara.

THE Maureen O'Hara herself was this year's special guest. When I told my hubby that we could see not only a real classic film movie star for a mere $125 benefit dinner ticket, but the Hollywood legend Maureen O'Hara, there was no hesitation. At the onset I knew with Ms. O'Hara's age of 92, this could likely be my only opportunity to see her as it may very well be one of her final public appearances. But there were many aspects of this Maureen O'Hara themed festival that appealed.

One of the major attractions of this event was the film line-up. The local theater- simply named the Iowa Theater- hosted a daily screening of all five of Maureen O'Hara's films she co-starred with her favorite leading man, John Wayne... John Ford's THE QUIET MAN (1952), Andrew V. McLaglen's MCLINTOCK! (1963), George Sherman's BIG JAKE (1971), John Ford's RIO GRANDE (1950) and John Ford's THE WINGS OF EAGLES (1957). But oh, THE QUIET MAN. Of all of these splendid films showing as part of this grand spectacle, I simply HAD to see this one on the big screen.

You see, THE QUIET MAN was repeatedly shown to me from a wee age in my family as sort of a "how-to" guide of our Irish heritage. For those who have never met me or in case you've been living under a rock, you may not realize that I'm quite proud of my Irish roots. I can claim Irish on both sides of my family (Mom's side- O'Donnells from Donegal and Dad's side- O'Sullivans from Kerry.) It was my grandmother on my Mom's side that started this tradition of watching THE QUIET MAN as I listened to her stories of our Irish family and as she would share photos of our ancestral cottage in the tiny town of Cashleenan in Donegal (see below). With her vibrant red hair, ivory skin, high cheek bones and take-no-malarkey attitude, I soon began to equate my grandmother and our Irish family stories as the embodiment of Maureen O'Hara and THE QUIET MAN.

And while my husband is a mix of English and Finnish, he has been 'aspirational Irish' long before he met me. Early in our courtship, he revealed that he was convinced that I must be a selkie. Unfamiliar with the selkie folklore? It's the Irish myth of the seal that can change into human form once on land. When in human form, the female selkie is a raven-haired, fair-skinned beauty who makes a devoted wife and mother after falling in love with a human. But selkies eventually become restless; longing to return the freedoms of the Irish sea. It's said that their human husbands bury the selkie seal coat and keep it hidden to prevent their selkie wives from returning to their former lives. Romantic and melancholy- very Irish. For a great film on the selkie legend, I recommend John Sayles' THE SECRET OF ROAN INISH (1994). So when I excitedly displayed my restless spirit to my husband because I was itching to go see Maureen O'Hara in Iowa and said there would be Irish music, Irish dancing and undoubtedly some Irish drinking, he was on-board.

Work and kid commitments precluded us from enjoying the entire 3 day stay. But we knew if hit the road bright and early on Saturday morning, we might just make it to THE QUIET MAN screening. We raced across the cloudy prairie highways for the almost 4 hour trip and made a tardy entrance. I was especially thrilled to join our fellow twitter classic film pals as a major perk to this grand adventure... fellow Kansan and #TCMparty co-host Trevor aka @tpjost, Eliz aka @VintageEliz, Summer aka @bucephalus02 and Kaci aka @kacik11. We've enjoyed Trevor's company several times prior for the wonders of silent film that our state offers but this was our first face-to-face with the other fun film-loving twitter pals who also trekked across the Midwest to this quaint Iowan town. I was giddy as we sat in the dark, packed theater; watching Maureen O'Hara's favorite film, directed by her fave director, along with her fave co-star John Wayne and the charming cast of characters like Victor McLaglen, Barry Fitzgerald and Ward Bond.

Afterwards, we met our friends out front and set plans for the evening's big gala. After my husband and I enjoyed lunch (hubby happily gulped down the John Wayne special chili) at an adorable little old-fashioned diner, we got all decked out back at the hotel for the special evening. Wading through a sea of reserved tables, we found our way to an available table way in the back corner. Shortly, everyone in our band of O'Hara groupies was seated and after a scrumptious meal, the program began.

 Upon seeing a glimpse of Maureen O'Hara's entrance, we were absolutely beside ourselves. It didn't matter that she arrived in a wheelchair or that she was a woman in her early 90's, here was a real-life classic film movie star in the very same room- a vibrant and larger-than-life legend. During a live auction segment of the evening to benefit the O'Hara foundation, my fellow gal pal groupies and I sneaked up to the side stage area where we attempted fairly unsuccessfully to take photos of her, as it became increasingly apparent a photo and autograph opportunity would never come. We each boldly smiled and charmed our best with security to get a direct view past through the roped VIP section. After a delightful succession of a few speakers like John Wayne's daughter, a parade of bagpipers, Irish songs, and Irish dancing, we finally got to hear words spoken from our guest herself. She was as beautiful, classy, and sassy with that charismatic humor as ever. She was... thoroughly Irish.

When the program was over, we hurriedly lined-up to catch a closer view as she exited. She was completely generous as she smiled at each of us, even reaching out, touching our hands. Because I was fumbling with my iphone in an attempt to photograph the close-up moment, I got a passing cheerful comment out instead of an actual hand press- and no photo. Eliz and Kaci announced they may never wash their hands. Our responses were misty-eyed and stunned.

The best way to end the evening? At an Irish pub, of course. Our star-struck caravan drove over to a local Irish pub, appropriately named Little Dublin. With live Irish music playing in the background, the cozy wood-paneled tiny pub was the perfect setting for imbibing while recounting the evening's magical moments with friends. At one point I set my Guinness down long enough to teach the techniques of a basic Irish jig, as we see John Wayne's daughter Aissa squeeze past us. Later my husband and I shared stories of how we met and fell in love (Gawd, how does anyone tolerate us?!) then Kaci points out Maureen O'Hara's grandson Conor, just a few feet away. What a memorable night! 

Indeed, it was an experience we shall never forget. And just so I could have a souvenir to take home in addition to my cherished memories, my sweet husband secretly bid on and won a beautiful brooch from the Maureen O'Hara collection in the silent auction and set it in front of me before the end of the program. What a lucky Irish gal I am...           

HIS GIRL FRIDAY

The following post is an entry to the Howard Hawks Blogathon, hosted by twitter pal and movie blogging wonder Ratnakar Sadasyula aka @ScorpiusMaximus of the http://seetimaar.wordpress.com site. No matter what your favorite film genre is, Howard Hawks aims to please. Director/Producer/Screenwriter Hawks covered a multitude of film genres with stunning success. From westerns, action thrillers, crime dramas, screwball comedies and even a musical, he made over 45 films from 1926 to 1970. While his work was obviously prolific, it was the outstanding quality of his work that is most memorable. One in particular stands out for me... Howard Hawks' HIS GIRL FRIDAY (1940).

From the very beginning of this film, HIS GIRL FRIDAY (1940) sets a tone of fast-paced dialogue and non-stop screwball hilarity. We are introduced to our main characters- newspaper editor, Walter Burns (portrayed dashingly by my all-time favorite leading man, Cary Grant) and his ex-wife and former top newshound, Hildy Johnson (portrayed brilliantly by leading lady Rosalind Russell.) The fun begins when Hildy shows up at Walter's office to inform him of her new engagement to Bruce Baldwin (portrayed perfectly by Ralph Bellamy.) The banter between Hildy and Walter is so rapid-fire and razor sharp that you almost miss some lines, if you don't pay close attention because of laughing between zingers. 

It's also in this early scene where we see the heated dynamics of this relationship ignite. Walter shows off his energetic charm and wit while pitching verbal lobs with Hildy. And Hildy doesn't miss a beat, keeping pace with Walter with every clever quip, "Walter, you're wonderful. In a loathsome sort of way." After repeated attempts, Hildy finally grabs his attention by showing her engagement ring and you see him pause pensively for the first time. You can practically see the wheels turning in his head as he ponders his next move. He knows he must entrap Hildy long enough that she can smell the intoxicating scent of reporting... so she'll be back in his life again.   




After Walter cons his way into joining Hildy and Bruce for lunch, it's obvious that Hildy and Walter are cut from the exact same cloth and it's Bruce that sticks out in the threesome as the odd man out. But Hildy will be difficult to sway as she explains her desire for a simpler life. A life that a simple man like Bruce assuredly will bring with all the 'comforts of traditional gender roles'. Or so she tries to convince herself. 

From here, the roller coaster ride speeds along. Walter hooks her into staying longer by giving her the scoop on an exciting story of a feeble man wanted for murder and facing the death penalty. She agrees to cover the story with an edgy angle that only Hildy can pen; but only if Walter keeps his word to buy a big life insurance policy from her fiance. (Yes, OF COURSE Bruce is an insurance salesman.) Meanwhile, Walter works every corner with every trick up his sleeve to ensure Hildy sticks around. Once she gets back into the non-stop pace of the wise-cracking and hard-nosed press room, she absolutely shines as 'just one of the boys', but SO much better. 

There are endless reasons why I adore HIS GIRL FRIDAY (1940). From a visual perspective, the fashions on Russell and Grant are impeccable and the cinematic style is beautifully film noir wrapped up in a screwball comedy- marking a transition into the early 40's. Every role is matched perfectly by outstanding performances- from Cary Grant to Rosalind Russell to Ralph Bellamy and every character actor. But the chemistry between Grant and Russell is unparalleled. The snappy dialogue is delivered at a pace that became legendary. 



But what I really love is the example Rosalind Russell's character as Hildy set for women, especially in 1940. Hildy showed that women can be as feminine as they are talented, tough, sharp and bright... and on equal footing as a man. She also shared the journey of a female torn between 2 choices- taking a traditional gender role with society pressure or ultimately choosing the best role for her, a career woman able to display all of her talents as a reporter in a man's world. Highly progressive and feminist for 73 years ago. Kudos to Howard Hawks for pulling together a perfect gem of a film. Happy 117th birthday, Mr. Hawks. 

The Omen

People love to be scared. Whether it's riding a plummeting roller coaster or watching a horror flick, the business of raising the adrenaline continues to be a serious money-maker. While my stomach cannot handle the flip-flops of amusement parks as in my youth, I have always enjoyed the fright of watching a truly suspenseful thriller. As a kid, I went through a phase of being obsessed with Edgar Allan Poe, Alfred Hitchcock and old vampire movies. What a goofy morbid tween I must have been. But when "My Love of Old Hollywood" and "Wide Screen World" announced the TERRORTHON! Blogathon with the premise of the earliest movie memory that truly frightened you, I knew my choice immediately... Richard Donner's THE OMEN (1976).

In the small southwestern town of Taos, NM where I spent many years in my youth, the projectionist of the only movie theater in town was a close family friend. So when my Mom was busy working, my little sister and I would sometimes convince our friend to sneak us in for a free show. THE OMEN was released June 25th, 1976. I was nine years old. My little sister was six. And there we found ourselves; just the two of us sitting in the cool air-conditioned dark theater on a warm afternoon in the bicentennial summer with our hands tightly gripping our faces as we peered through the tiny spaces between our fingers.

THE OMEN is a horror film about the rise of the Anti-Christ. Unlike so many films that have attempted to take on this subject matter, THE OMEN stood apart in its innovative approach to building up the story with a 'sense of authenticity on the absurd'. There was an intentional effort by director Richard Donner in partnering with screenwriter David Seltzer to create a sense of realism about Satan and the Bible by avoiding stereotypical supernatural images. Instead, the plot develops gradually in everyday moments that make both the main characters and the audience initially doubt if tragedies and oddities were simply accidental, coincidental or truly sinister.

Our haunting story starts with an American diplomat to Great Britain, Robert Thorn (portrayed by Gregory Peck) and his wife Katherine (portrayed by Lee Remick), stationed in Italy. Katherine gives birth to a stillborn and soon after her husband is approached by a priest offering a healthy newborn whose mother just died. Without his wife's knowledge of this substitution, Mr. Thorn agrees to this secret exchange; replacing his dead son with this new baby and they return to Britain. Years go by for this prosperous family who seemingly have the perfect life. Then life presents strange turn of events. At their son Damien's (portrayed by Harvey Stephens) 5th birthday party, his nanny inexplicably announces from a high point of their grand house "Look at me, Damien. It's all for you!" and promptly hangs herself in front of the entire horrified party with an emotionless response from Damien.

The strange events soon intensify when a new nanny (portrayed by Billie Whitelaw) unexpectedly shows up and later surprises the family with a very protective pet Rottweiler. A local priest, Father Brennan, (portrayed by Patrick Troughton) appears at Robert Thorn's office with mysterious warnings of his son's origins. As he attempts to alert Thorn that Damien is not only evil but isn't even human, he is thrown out by security. But the priest is persistent and makes contact again. Meanwhile, Katherine Thorn discovers to her disappointment and to Robert's delight that she's pregnant. She wants to terminate the pregnancy and expresses her growing discomfort around Damien. Damien swiftly delivers her wish in an eery scene when he rides his tricycle straight into the chair she's standing on, sending her over a railing. Barely hanging on to the edge, she looks to Damien pleading for help as he stares coldly and void of any concern. She loses grip and drops to the floor below, causing a miscarriage.

But the creepiness really ramps up when photographer Keith Jennings (portrayed by David Warner) notices strange yet consistent marks in his photos of Father Brennan, along with the former nanny. The strange marks turn out to be an 'omen' to the nanny's hanging and Father Brennan's bizarre 'spearing' death, the result of a freak lightening storm just as Father Brennan rushes to seek shelter of a church. After discovering marks in his own photographs, Jennings fears his own demise and joins Thorn's quest for answers across Italy and Israel. After a long string of horrifying discoveries and daunting obstacles, it is only after the forewarned deaths of Father Brennan, Jennings and his wife Katherine, does Thorn finally accept the belief that his son is indeed the Anti-Christ.

While Thorn is further convinced of Damien's true identity upon witnessing the birthmark of the devil -three sixes- hidden by the course black hair on his scalp (young Stephens was naturally blond yet his hair was dyed black to give a more menacing look), he ultimately still struggles with conflicting task of killing the child he raised as his own son. Just as he raises the dagger to murder Damien, the boy cries out for his "daddy" to stop, the police have arrived by now and shoot Thorn dead. In the end, due to Thorn's high political ranking and personal friendship with the President of the United States, we see Damien attending his father's funeral in the personal care of the President. The Anti-Christ has successfully attained the next level of ultimate power and smiles knowingly into the camera.      

As someone who was raised Catholic, I can assure you this film completely freaked me out. There's something very powerful about religion's suspense of belief. That is what is at the very core of this film. But it also preys upon the very notion of basic psychology, too. In this film, you find yourself along for the journey in Thorn's shoes and despite all the bizarre occurrences surrounding him, we understand how it would seem at first like coincidental tragedies. After all, there are no overt symbols of supernatural like a man in a red satin suit with horns and a pitchfork. Yet when he becomes gradually convinced of the unthinkable concept of his own child being the actual devil himself, he dares not fully believe it nor admit it openly for that would undoubtedly mean that this intelligent man of reason has slipped into madness.

What I found to be additionally fascinating about this film is the legend that the film itself is considered to be cursed. For all the bizarre tragedies in this film, it's been told that there was another parallel string of freakish accidents behind the scenes. On the very first day of the shoot, many key members of the crew survived a car crash. The Rottweilers attacked their own trainers. While both screenwriter David Seltzer and lead Gregory Peck flew to the U.K., each of their planes were struck by lightning. While in Rome, producer Harvey Bernard barely escaped being struck by lightning himself. Directer Richard Donner's hotel was bombed by the IRA during his stay. And at one point Gregory Peck canceled a flight to Israel to later discover that chartered flight crashed, leaving no survivors.

Despite these accidents behind the scenes, this film went on to become very popular and lucrative at the box office; making it the highest-paid role of Peck's film career. He wisely took the gamble of an extremely low salary- a mere $250,000, in order to be guaranteed 10% of the box office... which added up to over $60 million just here in the states plus international release. His gamble paid off nicely. Donner insisted working with high caliber talents of then-retired cinemaphotographer Gilbert Taylor and composer Jerry Goldsmith (he convinced head of 20th Century Fox, Alan Ladd Jr. to pony up $25,000 to hire Goldsmith.) Goldsmith went on win the Academy Award for Music Score, including the haunting theme song "Ave Satani" which significantly elevates the film's fear-factor. THE OMEN was his only Oscar win, although he was nominated 17 times over the span of his impressive career.

Do I truly believe in the existence of an Anti-Christ and that this film was actually cursed? No. But it's those little seeds of doubt, that suspension of belief that piques the curiousity and raises the adrenaline if only while sitting in the dark, with your hands tensely gripping your face. After watching THE OMEN that first time and as little girl who was born in 1966 (although NOT in June, nor on the 6th day, or even at the 6am/pm hour), I went home and carefully examined my scalp through my raven locks, looking for any triple-six birthmarks. You know... just in case.

    

Blonde Ambition

I am thrilled to participate in The Hollywood Revue's Fashion In Film Blogathon. I have always been a passionate fan of both topics- fashion and film. To my fellow film pals, my joy for cinema is probably obvious. But I started my love for fashion at the same young age. I actually worked in apparel retail from the age of sixteen to the age of thirty-six. In high school, I'd carry my latest issue of Vogue magazine to classes, learned French for the sole purpose of being able to read French Vogue, and had planned to take my fashion design sketches to college at FIT (the Fashion Institute of Technology in New York) in hopes of working in the garment district as a fashion designer. I never made it to FIT but my love for fashion has never stopped.

As styles have changed from the early days of cinema in the silent era, to the latest fashions seen in current films today, trends and influences have always been closely followed via film. For me, my favorite fashion in film choices were beautifully worn by two legendary actresses during the same era: Doris Day and Grace Kelly.

Any classic film fan worth their salt knows the story of Grace Kelly. She was the Irish American girl from Philly who possessed the big screen with such stunning beauty and elegance that she charmed a Monacan prince and become a real-life princess. During her film career, Kelly always brought her personal beauty to every role. But her beauty and grace was never more radiant than when she shined in Alfred Hitchcock's REAR WINDOW (1954).

What's amazing about the fashion in this film is that every single outfit Kelly wears is breath-taking. Each costume design reflects a clean, simple and feminine glamor inspirational to mid-century American design. Credit obviously must go to costume designing genius Edith Head but also to director Alfred Hitchcock. Edith Head was already a living legend by now and had a long and successful working relationship with Hitch. Hitchcock worked closely with Head in every step of the design process to ensure it mirrored the mood, tone and story-telling.

When we are initially introduced to Lisa (portrayed by Grace Kelly), she is dressed in a formal and feminine dress of a black fitted deep-plunged V-top and white billowy chiffon skirt detailed with black design branching out from the waist, all topped off with simple choker of pearls. She models for us and even shows off the sheer white chiffon wrap. A stunning entrance...  

She transitions to a black belted cocktail dress with accordion pleat skirting. It's slightly less formal, with similar lines and multiple pearl strands.   

As the story continues, Lisa and Jeff (portrayed by James Stewart) grow closer to one another as the mysterious crime unfolds before them and her attire gradually loosens in formality with each change. We see her in a light green suit, belted in white with a gathered, sleeveless halter top. The style is signature 50's with the skirt length hitting in the area between mid-calf and just below the knee (or "tea-length" as my grandmother would say), jacket sleeve gathered at the elbow and topped off with white gloves, a white pill box hat and chin length veil. And of course, the pearls are ever-present.

Her black overnight 'Kelly bag' reveals a miracle of space efficiency and she models it's very intimate contents for Jeff...

With her next dress, Kelly blossoms in a sleeveless garden dress, bursting with antique golden roses in hues of champagne, goldenrod and brown tones. The lines again are classic 50's style and we see her style grow more casual (perfect for some digging in the neighbor's flower garden or climbing a trellis to capture would-be murderers). 

In the end, true intimacy has been reached between Lisa and Jeff. After he peacefully falls asleep, Lisa transitions from a book to a fashion magazine; lounging in a casual red button-up shirt, cuffed jean capris and penny loafers. She feels completely at home.

My next favorite example of a similarly simple, clean and exquisite 50's design is beautifully worn by the legendary Doris Day in PILLOW TALK (1959). Also a popular platinum blond actress with a flawless figure, Doris Day was already the premier film fashionista by the time PILLOW TALK hit the big screen. This film is a showcase for her terrific comedic timing and charming chemistry with co-star Rock Hudson, but it's Day's parade of costume changes that keeps me absolutely mesmerized no matter how many times I watch it. 

While Bill Thomas is listed as PILLOW TALK's costume designer, it's no secret that famous designer Jean Louis, also known for Rita Hayworth's sexy strapless gown in GILDA (1946), was the creator of all her gowns for this film. Here are some gorgeous highlights from this battle-of-the-sexes classic:


A boxy suit in a perfect hue of lapis azure with a black fur hat. The lines are simple, yet bold (the collar lapels extend just past the shoulder hem.) Black and blue never looked better.

 
         
A creamy beige sheath dress and coat topped off by a red lampshade hat displays another lovely twist on the monochromatic theme.  The dress is cinched with matching wide belt and pendant and both the dress and coat have 3/4 length sleeves. Perfectly suited to Doris Day in every way.

This long winter white sheath dress is a clear stand-out in the film (so much so that they made a Barbie doll copy of it.) Floor length, sleeveless, wrapping the shoulders and gathered to the left shoulder, with a deep open plunge in the back... this outfit literally fit her like a glove. Speaking of which, the extremely long gloves and fur shrug- also in a monochromatic shades of white - pulled together the most stunning outfit in the film. Isn't she heavenly in shades of white?


I love how this gathered forest green 'strapless dress' with spaghetti straps shows off Day's shapely figure but the emerald green satin A-line swing coat with bold lines really makes a statement when she walks into the room. But I must admit, I have never cared for the choice of turquoise and gold jewelry; because to me, it simply doesn't match in either color nor in formality.

In shades of olive and dark green, I really enjoyed this fitted bodice dress with matching fur hat. The gold and brown toned jewelry is the right compliment.

This off-white belted sweater dress with roll neck shows off her most flattery tones- monochromatic shades of white. Set design was purposefully set in white-wash to assist in this visual feast of complimentary color.

This red coat (same bold red as seen earlier with her lampshade chapeau) makes an incredible entrance with leopard animal print lampshade hat with matching muff.  I adore this outfit and would personally wear this ensemble in a heartbeat. Apparently I'm not the only one who thought this look was worth repeating as Audrey Hepburn is shown wearing a similar outfit a few years later in CHARADE (1963). I recall a faux dark mink muff I carried around as a little girl. I long for the return of hats, long gloves, and muffs making a comeback.
                                Finally, I must draw attention to this little black velvet suit. Simple yet plentiful in cuteness factor. It's always in the details. I love the piping trim, the bow on the cream blouse, and the crushed velvet beret with adornment... all adding up to an adorable outfit from what could have been just a boring black suit.

There are a few outfits and many nighties/ pajamas from PILLOW TALK (after all, it is about the battle of the sexes) that I chose not to include in my line-up. Frankly, I'm just not a fan of the 50's style polyester/rayon nightie.  But, I hope you have enjoyed the fashions from these two films as I have and continue to do so; time and time again, every time I enjoy these two films. Both Grace Kelly and Doris Day carry some key similarities... both outstanding platinum blond actresses with intelligence, beauty, grace and sophistication. But without a doubt, they are in a league of their own in terms of fashion trendsetters for their roles in these two iconic films. 

A Kansas View of OZ

As a Kansas native, I grew up feeling a special connection to "The Wizard of Oz." It was more than the countless summer evenings of dinners spent in the basement with tornado sirens blaring in the background. It was more than the fact that my grandmother Emma Jean had a very sweet and loyal dog named Toto that looked the spitting image of his namesake from the 1939 classic film. And yes, during my youth that legendary classic film played once a year on TV and we watched it faithfully as a family with great anticipation. I guess it was an accumulation of all of these things that made me feel a special bond to Dorothy; which is exactly why I went to see Sam Raimi's OZ, THE GREAT AND POWERFUL (2013) today for its opening weekend.

Before I continue, you should note that there will be references to details of this movie, so you've been officially forewarned to not continue down this yellow brick road as spoilers will be revealed and possibly a wicked witch or two. That being said, I must admit my initial concern prior to seeing this film was, "will this version respect the integrity of the original enough to show Kansas or any Kansas references in black and white?" So I was very relieved to discover that Kansas from year 1905 is still a black and white experience.

OZ, THE GREAT AND POWERFUL is not a re-do of the popular 1939 film but instead it takes us back to the story of how traveling circus magician/con-artist Oscar Diggs aka "Oz" (played by James Franco) came to the land of OZ and his path to become the great and powerful wizard of the Emerald City. The witches of Oz (both good and wicked) are aptly portrayed by actresses Mila Kunis, Rachel Weisz and Michelle Williams. I enjoyed seeing the development of these characters through this background story. And Mila Kunis does an especially strong endeavor of bringing empathy and believability to her witchiness. But the strongest and most entertaining characters were the little China Girl (no, she's not what you're thinking and not a David Bowie song nod but actually the porcelain type) and Oz's sidekick and flying monkey Finley. China Girl (voice by Joey King) was such an incredibly endearing character that brought both sympathy and uber cuteness to a whole new level. The life-like animation to this doll was truly stunning. Zach Braff doubly portrays the voice of sweet and funny Finley and as Oscar Digg's side-show assistant Frank. But both China Girl and Finley win the prize for most sympathetic characters and best lines in the show.

Visually speaking, it's a vividly colorful sumptuous feast for the eyes. One of the most aesthetically hypnotic scenes comes to light when Oz makes his crash landing in the land of Oz. The contrast from the black and white harsh world of a Kansas twister ride to the vivid colors of a river floral orchestra is an epic journey for the senses. The special effects are astounding throughout.  

Overall, it was a fun flick that the entire family can enjoy. Okay, so maybe a scene or two that involve flying evil primates and a wicked witch might briefly scare the gingham right outta your youngest members of the family, but I think it's still worth the walk down the yellow brick road. On a personal note I must add, that we have carried on our Kansas love of The Wizard of Oz by regularly giving my young niece (who lives in Portland, Oregon) Wizard of Oz themed gifts. I guess our Oz influence has taken effect as she even dressed up as Dorothy for Halloween once, to our delight. With OZ, THE GREAT AND POWERFUL, a whole new generation can be introduced to the creative wonders of L.Frank Baum's adventures in Oz. (By the way, there are a few references to L. Frank Baum's namesake in the movie if you look for them.)    

"Toto, I have a feeling we're not in Kansas anymore." - L. Frank Baum, The Wonderful Wizard of Oz