‘OZ: The Great and Powerful’ Review

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Do not let 2013’s best commercial opening weekend fool you, there is nothing “great” or “powerful” about this prequel to the 1939 classic, The Wizard of Oz.  Not having read L. Frank Baum’s original stories, I am unsure how closely director Sam Raimi’s film hews to the original texts.  However, there is nothing inspired or magical in what ultimately appears on the screen.  No amount of 3D effects and movie magic can help a tired, banal script and unimpressive performances from a cast that seems lost in Oz.  From a filmmaking aspect, it was a waste of time, money, talent, and source material.

The film opens in 1905 at a small Kansas fair where we are introduced to Oscar (James Franco) who will eventually become the Wizard of Oz.  In the initial scenes, we see that Oscar is a passable magician, con man, and breaker of hearts.  We are also introduced to three characters we will see again.  Annie (Michelle Williams) comes to see Oscar, telling him that a man named Gale has asked her to marry him (cue Dorothy’s backstory); Williams will return on the other side of the rainbow to appear as Glinda.  We also see Oscar’s put-upon assistant, Frank (Zack Braff), who stands by Oscar even though he is mistreated at every turn.  Braff will show up as a flying monkey named Findlay – not the scary kind that serve a wicked witch – but a sweet, shy, cuddly monkey who serves the same purpose as Frank did in the black-and-white movie world of Kansas.  Finally, there is an unnamed crippled girl (Joey King) who wants the magician to make her walk.  She will appear as an adorable china doll in Oz that Oscar mends – a doll who becomes part of the wizard’s road crew.

The two other major players are not seen until we reach Oz.  When Oscar arrives, he encounters the witch Theodora (Mila Kunis) who falls in love with him and quite quickly, too (I am reminded of how Dorothy (Judy Garland) commented on how quickly people came and went in Oz; so perhaps Theodora knows she needs to act fast).  Theodora is in league with her sister, Evanora (Rachel Weisz), who is currently residing in the Emerald City.  We find out that Theodora is unaware of Evanora’s maliciousness and only becomes aware at the moment when Evanora tricks her into thinking the prophesized wizard is in love with Glinda.  It is this moment that leads Theodora to become the Wicked Witch of the West – green skin, broom, and all.  It is a nice moment, but it is too little, too late as far as the film’s quality is concerned.

Oscar, Findlay, and China Girl journey to kill who they think is the wicked witch; they soon find out Glinda is the good one.  Upon realizing this, they join forces with Glinda and her ragtag group of farmers, tinkers, and munchkins to put on a great show – an illusion so great that it will force Evanora and Theodora to flee Emerald City.  It is in the group’s preparation and ultimate victory that the film’s message is beat into us – good triumphs over evil despite the good ones being weak, small, non-magical, or even made of freaking china.  The only strong writing occurs in Glinda’s backyard as she lets Oscar know that he is not a “real” wizard but he is still the fulfillment of prophecy because he is the good man that the residents believe is the wizard.  Williams – the only one who gives anything like a strong performance – plays these scenes well, showing Glinda to insightful, strong, hopeful, and even funny.

So, good prevails.  We get the Wizard’s backstory.  We see the infamous Wicked Witch of the West become the creature we first saw on screen in 1939.  We see how the Wizard sets up his man-behind-the-curtain shop.  We even see the first gift-giving session when the Wizard gives to others what they truly want or need.  The fact that Glinda’s gift is essentially the Wizard’s love – both emotional and physical – was both strange and off-putting.

With such rich material and strong characters from which to draw, Oz the Great and Powerful is easily the year’s biggest disappointment.  Yes, there are a few visually stunning moments and the audience laughed a few times, but overall the film is a bust.  Franco, Williams, Weisz, and Kunis do their best, but they are saddled with a terrible script and not even their considerable talent can overcome it.  And I say all of this without comparison to the 1939 classic.  When put up against The Wizard of Oz with its extraordinary visuals, brilliant score and songs, and memorable performances, the prequel falls even flatter.  Save your time and money – use it to buy your own copy of the original film, pop your own popcorn, and enjoy the only adaptation of Baum’s work that matters.