Long before their passing, the surviving cast members resigned themselves to their inescapable association in public consciousness with their movie counterparts, regardless of where they went or what they did. Even Bert Lahr’s grumblings about playing the Cowardly Lion had softened by the 1960s, when he told reporter Charlie Rice, “I don’t regret [the role] at all—when you play a part like that, it brings you awfully close to the public. People feel they know you personally.” Such personal accessibility was also experienced by Lahr’s cohorts, as Ray Bolger explained anecdotally: “I was doing some shopping recently and I noticed a woman staring at me. She finally leaned down and whispered something to her small son. The boy looked at me for a few seconds and then walked over. ‘Are you really the Scarecrow?’ he asked. I said I was—and he put his hand inside my shirt. I’m used to kids doing that. They’re checking to see if I’m stuffed with straw!”
Margaret Hamilton experienced similar reactions. She reported, “Many times I see mothers and little children, and the mothers always recognize me as the Witch. Often they say to the kids, ‘Don’t you know who she is? She’s the Witch in The Wizard of Oz!’ Then the kids look so disappointed and say, ‘But I thought she melted.’ It’s as though they think maybe I’m going to go back and cause trouble for Judy Garland again.” Hamilton’s legacy is one of Hollywood’s greatest oxymorons, as she held a lifelong fondness for children and, prior to acting, was a kindergarten instructor. She, Bolger, and Jack Haley all lived to see the film achieve cult status beyond mere fame; each actor accepted and appreciated immortality as an ancillary benefit, in lieu of telecast residuals.
Margaret Hamilton poses with Mego Corporation’s line of The Wizard of Oz dolls at the New York Toy Fair, February 10, 1975.
LEFT TO RIGHT: Bert Lahr in later years; Bolger and Hamilton in 1969; Jack Haley with his wax likeness, 1976.
THE LEGACY
“WHENEVER SHE WATCHED THE MOVIE, YOU COULD SEE IN HER EYES THAT SHE LOVED MAKING THAT FILM.”
–LIZA MINNELLI SPEAKING ABOUT HER MOTHER, JUDY GARLAND
AS AN ADULT and mother, Judy Garland’s appreciation for her legacy as Dorothy was surely gratified most by how The Wizard of Oz was perceived by her own children. In an August 15, 1989, interview with CBS This Morning, Judy’s daughter Lorna Luft explained, “You know, it’s funny, but I never thought of The Wizard of Oz as a children’s film because it’s frightening . . . I remember when I first saw it, and I guess I was around seven, my mom had come to New York. And we had someone [watching us] who kept saying, ‘Your mother’s going to be on television.’ So I started to watch this movie, and the monkeys and all of that started to happen, and I started to cry. And she called from New York, and I was on the phone, hysterical, saying, ‘Monkeys . . . take . . . you . . . to . . . New York!’ And from then on, we never watched the film alone; she always watched it with us.” During a March 6, 1967, TV interview, Barbara Walters asked both Lorna and Judy’s young son Joe about The Wizard of Oz. Joe magnanimously enthused, “I could just watch it for a million times. I never get tired of it,” which prompted Judy to tenderly caress him.
According to all present-day surveys and contentions, The Wizard of Oz is undeniably an inextricable part of our cultural heritage—one that has expanded to attain legendary significance, transcending perceptions as a fondly remembered movie favorite or TV special. Evidence of this manifested with the 2011 auction of actress Debbie Reynolds’s Hollywood memorabilia; among the top-selling lots was one of the dresses worn by Judy Garland during the initial production phase on The Wizard of Oz. Though the costume went unused in the finished film, it brought a staggering $1.1 million at the sale—proof positive of the film’s capacity to enrapture admirers of all ages.
But perhaps it is the child in each one of us to which The Wizard of Oz speaks most compellingly. In a 1939 editorial, journalist Gilbert Garretson took note of the spell cast on his own youngsters by the local theatre’s signage for The Wizard of Oz. Even before seeing the film, Garretson reported, there’d be a howl unless the family drove by the theatre every night, stopped, and interpreted the meaning of the display pictures. Not only were Garretson’s children counting down the hours until they saw the picture, the editor recommended to all parents, “To miss [The Wizard of Oz] would be one of the tragedies of childhood, and of course we are not going to let that tragedy happen.”
As Garretson sagely implied, tales of the fabled and fantastic—then as now—are necessary components for encouraging youthful imaginations. Today, The Wizard of Oz is no longer an annually telecast special event, but its regular broadcasts and home-viewing accessibility ensure that generations to come will have unfettered viewing of this fixture of Americana. As with any folk tradition, The Wizard of Oz’s legacy must be transferred with regard and approbation from our culture’s elders to upcoming generations. In this manner, the fairy tales of Hans Christian Andersen, the stories of the Brothers Grimm, and Lewis Carroll’s Alice books have not only withstood the test of time, but they also continue to provide substantial source material for re-envisioning and reinterpretation as popular entertainment. When compared against the longevity of those works, The Wizard of Oz is still a newborn. But unlike European fables and folklore, The Wizard of Oz is a native heirloom that is uniquely American, uniquely our own.
Suffice it to say that The Wizard of Oz will continue to be revered and written about as long as there are people with childish hearts and a curiosity to learn more about this Hollywood cornerstone. And all future reenactments and reworkings of Dorothy’s journey over the rainbow will owe inspiration to Turner Entertainment Co.’s The Wizard of Oz as the definitive standard—one that, proudly, will prevail and persist in one format or another for all time.
ACKNOWLEDGMENTS
THE AUTHORS ARE grateful to the following individuals, including those in spirit, for their assistance, support, and enthusiasm: Beverly Allen, Paula Allen, Dorothy Barrett, Ozma Baum Mantele, Janet Cantor Gari, John Davidson, Esq., Preston Evans, Brian Gari, Meredythe Glass, J. B. Kaufman, Kristine Krueger (The Academy of Motion Picture Arts and Sciences/The Margaret Herrick Library), Rob Roy MacVeigh, Dona Massin, Fred M. Meyer, Charles Oellig (Fort Indiantown Gap), C. F. Payne, Ann Rutherford, Dede Schaeffer, Charles Schram, Dave Smith, Martin Spellman, Donna Stewart-Hardway, and David Suggs. Photography of select items was skillfully handled by Tim McGowan Studio. Darrell Hickman facilitated our acquisition of Allen Davey’s Technicolor collection. Film historian Brian Sibley’s sage advice proved invaluable to us. Special recognition is due James Comisar, wish-broker extraordinaire, who truly made dreams come true by negotiating our transaction for the photo archive of M-G-M film editor Michael J. Sheridan. We thank Caren Marsh-Doll for years of friendship and camaraderie, and for providing us with the perfect foreword to this volume. Our friend and agent, Grace Ressler, made all things possible and shared our vision from the start, and for that we are forever indebted to her.
Special thanks to Ashley Woodall, Melanie Swartz, Elaine Piechowski, Victoria Selover, Kathleen Wallis, Steve Fogelson, Stephanie Mente, Avis Frazier-Thomas, and Josh Anderson, as well as Marta Schooler, Signe Bergstrom, Lynne Yeamans, Dori Carlson, Julie Hersh, and Paige Doscher. A very special thanks to Paul Kepple and Ralph Geroni.
ABOUT THE AUTHORS
JAY SCARFONE and WILLIAM STILLMAN are the authors of several books on the creation and legacy of the motion picture The Wizard of Oz. Historians and collectors since the 1970s, they have amassed one of the world’s largest and most comprehensive archives of memorabilia from Turner Entertainment Co.’s The Wizard of Oz, the holdings of which include rare photographic images and authentic costumes and props from the film’s production. Additionally, they have been contributors and advisers to countless other books, periodicals, and documentaries on Hollywood history, memorabilia, and collectibles. They have appraised rare Wizard of Oz material for auction houses and have lectured audiences about the classic film in numerous venues. They live in Pennsylvan
ia.
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CREDITS
Page numbers refer to the print edition.
Cover design by HEADCASE DESIGN
Except as noted, the material presented in this book—vintage photographs, ephemera, original artwork, posters, merchandise, and other memorabilia—is the physical property of the authors from their private collection.
Page 1: M-G-M, promotional artwork, 1939. Artist unknown.
Page 5: M-G-M, publicity still, February 25, 1939. Photographer unknown.
Page 7: M-G-M, promotional artwork, 1939. Art by Al Hirschfeld.
Page 8: Photograph courtesy Caren Marsh-Doll.
Page 9: top: M-G-M, photograph, clipping from Pic magazine, January 24, 1939. Photographer unknown; bottom: Caren Marsh-Doll signature, 2013.
Page 10: Loew’s Incorporated, 1939. Photographer unknown.
Page 15: The Wonderful Wizard of Oz by L. Frank Baum, George M. Hill Co., Chicago, 1900. Illustrations by W. W. Denslow.
Page 17: left: M-G-M, publicity photograph, 1939; original photograph from 1908. Photographer unknown; right: © C.F. Payne, 2003.
Page 18: clockwise from top left: Scarecrow illustration, New York American & Journal Supplement, 1903; advertisement published in Los Angeles Express, April 14, 1913; publicity photograph for Meglin production, 1933. Photographer unknown; candid snapshot, 1916. Subjects/photographer unknown; publicity photograph, Chadwick Pictures press book, 1925. Photographer unknown; promotional art for radio play sponsored by Jell-O, 1933. Artist unknown; advertisement published in Chicago Sunday Tribune, December 1, 1929.
Page 19: clockwise from top left: Publicity photograph for Meglin production, 1933. Photographer unknown; back cover art for Songs Sung in…The Wizard of Oz, M. Witmark & Sons, 1902. Photographer unknown; press photograph for NBC-Radio, 1934; photograph from Betty Benwell’s dancing class, 1933. Photographer unknown; cover from Lawrence Wright Music Co., 1925. Artist unknown; handbill, Oz Film Manufacturing Co., 1914; publicity photography for Meglin production, 1933. Photographer unknown; sheet music cover, Brooks & Denton Publishers, New York, 1904; promotional art for radio play, 1933. Artist unknown; photograph of Margaret “Tot” Qualters as Fred Stone in Miss 1917. Photographer unknown.
Pages 18-19: Background image from “The Wonderful Stories of Oz,” George Matthew Adams Service, New York, 1918.
Page 21: clockwise from top: M-G-M Studios, 1938. Art by Henry Major; press photograph, 1933. Photographer unknown; United Artists Studios/Warner Bros., 1933. Art by Willy Pogany.
Page 23: left: Time magazine cover, December 27, 1937; right: M-G-M, publicity photograph, 1939. Photographer unknown.
Page 24: Film Daily clipping, March 31, 1938.
Page 25: M-G-M Studios, press photograph for Little Nellie Kelly, 1940. Photographer unknown.
Page 26: top: M-G-M, publicity photograph, 1939. Photographer unknown; bottom: M-G-M Studios press photograph, 1938. Photographer unknown.
Page 27: M-G-M Studios, advertisement in Daily Variety, August 15, 1939.
Page 28: top: M-G-M Studios, candid press photograph, 1939. Photographer unknown; bottom: M-G-M, publicity photograph, 1939. Photographer unknown.
Page 29: King Vidor’s amended contract, M-G-M Studios/Loew’s Incorporated, 1939.
Page 30: Loew’s Incorporated, 1939.
Page 33: Loew’s Incorporated, 1939.
Page 34: left: Lost Princess of Oz, L. Frank Baum, Reilly & Britton, Chicago, 1917; right: M-G-M Studios, publicity photograph of Judy Garland, 1937. Photographer unknown.
Page 35: top: illustration, Reilly & Britton, Chicago, 1915; bottom: M-G-M Studios, Judy Garland photograph, 1938. Photographer unknown.
Page 36: M-G-M Studios, test photographs, 1938.
Page 37: M-G-M Studios, press photograph, 1938. Photographer unknown.
Page 38: M-G-M, publicity Kodachrome, 1938. Photographer unknown.
Page 39: clockwise from left: M-G-M Studios, test photograph, 1938; M-G-M photograph as printed in Screen Guide magazine, 1939; M-G-M Studios, advertisement in Showmen’s Trade Review, 1938.
Page 40: M-G-M Studios, test photograph, 1938. George Hommel, studio photographer.
Page 41: M-G-M Studios, photograph of Judy Garland, 1939. Photographer unknown.
Pages 42-43; M-G-M Studios, test photographs, 1938. Virgil Apger, studio photographer.
Page 46: Loew’s Incorporated, 1939. Photographer unknown.
Page 48: clockwise from top left: M-G-M Studios, test photograph, 1938; A.M.P.A.S., Margaret Herrick Library, Jack Dawn, M-G-M makeup artist, 1938; The Wonderful Wizard of Oz by L. Frank Baum, George M. Hill Co., Chicago, 1900. Illustrations by W. W. Denslow; A.M.P.A.S., Margaret Herrick Library, Jack Dawn, M-G-M makeup artist, 1938; M-G-M Studios, test photograph, 1938; photograph of Ray Bolger by Maurice Seymour, Chicago, 1936.
Page 49: M-G-M Studios, test photograph, 1938; right: M-G-M Studios, test photograph, 1939. Photographer unknown.
Page 50: M-G-M Studios, test photographs, 1938. Photographer unknown
Page 52: Loew’s Incorporated, 1939.
Page 54: Clockwise from top left: M-G-M Studios, test photograph, 1938. Photographer unknown; A.M.P.A.S., Margaret Herrick Library, Jack Dawn, M-G-M makeup artist, 1938; The Wonderful Wizard of Oz by L. Frank Baum, George M. Hill Co., Chicago, 1900. Illustrations by W. W. Denslow; Loew’s Incorporated, 1939. Photographer unknown.
Page 55: M-G-M Studios, test photographs, 1938. Photographer unknown.
Pages 56-57: M-G-M Studios, test photograph, 1938. Virgil Apger, studio photographer.
Page 60: clockwise from top left: A.M.P.A.S., Margaret Herrick Library, Jack Dawn, M-G-M makeup artist, 1938; M-G-M Studios, test photograph, 1938. Photographer unknown; The Wonderful Wizard of Oz by L. Frank Baum, George M. Hill Co., Chicago, 1900. Illustrations by W. W. Denslow.
Page 61: clockwise from top left: M-G-M Studios, test photograph, 1938. Photographer unknown; Screen Guide magazine, 1939. Photographer unknown; advertisement published in Film Daily Yearbook, 1939.
Pages 62-63: Loew’s Incorporated, 1939. Photographer unknown.
Page 66: M-G-M Studios, test photograph, 1938. Virgil Apger, studio photographer.
Page 67, top: M-G-M Studios, test photographs, 1938. Virgil Apger, studio photographer; bottom: A.M.P.A.S., Margaret Herrick Library, Jack Dawn, M-G-M makeup artist, 1938.
Page 68: clockwise from top left: Loew’s Incorporated, 1939. Photographer unknown; M-G-M Studios, 1939. Photographer unknown; press photograph, May 20, 1938, credited to ACME.
Page 69: Loew’s Inc., 1938. Photographer unknown.
Page 71: top: Warner Bros.; bottom: Loew’s Incorporated, 1939.
Page 72: M-G-M Studios, test photograph, 1938. Photographer unknown.
Page 73: O Feiticeiro de Oz, Portuguese photoplay edition, 1939.
Page 74: clockwise from left: M-G-M Studios, test photograph, 1938. George Hommel, studio photographer; Loew’s Incorporated, 1939; M-G-M Studios, test photograph, 1938. Photographer unknown.
Page 75: clockwise from left: Warner Bros.; M-G-M Studios, test photograph, 1938. Photographer unknown; M-G-M Studios, test photograph, 1938. Photographer unknown; Warner Bros.
Page 77: Loew’s Incorporated, 1939. Photographer unknown.
Page 78: clockwise from top left: M-G-M Studios, test photograph, 1938. Photographer unknown; M-G-M Studios, test photograph, 1938. Virgil Apger, studio photographer; M-G-M Studios, test photograph, 1938. Virgil Apger, studio photographer; M-G-M Studios, 1939. Photographer unknown.
Page 79: M-G-M Studios, test photograph, 1939. George Hommel, studio photographer.
Page 81: left: Loew’s Incorporated, 1939. Photographer unknown; right: detail of Son of the Navy lobby card, 1940.
Page 84: top: M-G-M publicity photograph, 1939. Photographer unknown; bottom: MGM publicity photograph, 1939. Photographer unknown.
Page 88: middle row, M-G-M, film fra
mes-outtake footage, 1938. Top and bottom rows: M-G-M Studios, test outtake frames, 1938. Photographer unknown.
Page 89: top: Loew’s Incorporated, 1939. Photographer unknown; bottom: M-G-M Studios, test photographs, 1938. Photographer unknown.
Page 90: clockwise from top left: Loew’s Incorporated, 1939; M-G-M Studios, portrait, 1938. Photographer unknown; M-G-M Studios, publicity photograph, 1938. Photographer unknown; M-G-M Studios, publicity photograph, 1938. Photographer unknown.
Page 91: Loew’s Incorporated, photograph, 1938. George Hommel, studio photographer.
Page 92: M-G-M Studios, publicity photograph, 1944. Photographer unknown.
Page 93: top: M-G-M Studios, test photograph, 1938. Photographer unknown; bottom: illustrations, A.M.P.A.S., Margaret Herrick Library, Jack Dawn, M-G-M makeup artist, 1938; A.M.P.A.S., Margaret Herrick Library (Leonard Stanley Collection); A.M.P.A.S., Margaret Herrick Library (Leonard Stanley Collection); A.M.P.A.S., Margaret Herrick Library (Leonard Stanley Collection); A.M.P.A.S., Margaret Herrick Library (Leonard Stanley Collection).
The Wizard of Oz: The Official 75th Anniversary Companion Page 12
