Book Review: ‘The Wizard of Oz FAQ’ by David J. Hogan

Article originally published as Book Review: ‘The Wizard of Oz FAQ’ by David J. Hogan on Blogcritics.

Applause recently released a book called The Wizard of Oz FAQ by David J. Hogan. Subtitled All That’s Left to Know About Life According to Oz, the book is a collection of facts and stories about the MGM film The Wizard of Oz. It begins with a bit of background on the source material and early adaptations, then moves through various aspects of the movie, such as the cast, the music, the script, costumes, the director, etc., ending up with the public impact on Oz on TV. It’s a widely sweeping book, packed into a little over 400 pages.

There is a lot of new information in The Wizard of Oz FAQ. There are many things to be learned, such as the various pictures the cast participated in together, or how Toto behaved on the set. Some of what is covered will be familiar to many, such as Judy Garland’s rampant drug use at the direction of the studio. But there are so many elements talked about that most readers will probably be enlightened on a regular basis when reading through. One such example of this is learning that Judy’s daughter, Liza Minnelli, ended up being Jack Haley’s (the Tin Woodsman) daughter-in-law, which is casually mentioned at one point. Also, Buddy Ebsen, who filmed for two weeks before being replaced by Haley, still has his voice heard in select songs in the film.

However, I am not a fan of this book. The structure is weird, and the pacing is nonexistent. It’s a random compilation of various pieces that aren’t tied together in a cohesive manner. There also is no real narrative thread. You could pick parts of each chapter and string them together to tell the tale of the popular film, but that would require much effort on your part. Every event is weighed down with side trips and things most people won’t care about. Do we need several pages on what many of the individual Munchkins or the person who wrote the score did with their lives? That type of thing may be interesting to some potential readers, but the sheer number of such occurrences really hurt the overall flow of the tome, frequently slowing it down and making it boring.

I think one major problem is that the scope of the project is too large for this volume. A lot of topics are covered, many more than I mentioned in the first paragraph, but Hogan frequently sweeps over a topic and moves on. There are a list of the official Oz books, but he doesn’t go into detail about them. He mentions many productions, only giving us scant details on how they came together, rather than telling us anything deep. It’s a thin covering of a broad spectrum.

Another issue I have with The Wizard of Oz FAQ is the amount of bias in the text. One example is when the author talks about the famously cut “Jitterbug” sequence in the movie. Hogan is definitely not a fan of the scene and is glad it was cut, which is a legitimate stance to take, and I happen to agree with the points he makes. But this is a non-fiction work, so I expect facts more than opinion, and Hogan frequently lets his own thoughts and conclusions color the text, making it less informative than I’d hoped for. This is far from the only time he does this.

What’s more, the subtitle of the book is completely inaccurate. I don’t see how Oz relates to life at all from reading this. This is about Oz itself, not how it connects to the rest of the world or the way anyone lives.

In the end, I find myself reluctant to recommend The Wizard of Oz FAQ to anyone. There are some strong parts in here that have been well researched, but the format it has been published in seems like a mistake. Instead, this should have made up several smaller volumes, more fleshed out, with some type of better organization to them.

Blu-ray Review: Easter Parade

Article first published as Blu-ray Review: Easter Parade on Blogcritics.


Many are already familiar with the classic 1948 film Easter Parade, recently released for the first time on Blu-ray. The movie musical, set in 1912, revolves around Broadway star Don Hewes (Fred Astaire, Top Hat), whose dancing partner, Nadine (Ann Miller, You Can't Take It With You), decides to split off on her own. Frustrated, Don grabs a gal from the chorus named Hannah Brown (Judy Garland, The Wizard of Oz) and tries to shape her into a suitable replacement.

Easter Parade is a light-hearted, fun romp. There is plenty of humor, perhaps than in other entries in the genre, and lots of good old Irving Berlin music, including such classics as "Steppin' Out With My Baby," "Shakin' the Blues Away," "Happy Easter," and the title song, "Easter Parade."

Sure, there is conflict; Hannah doesn't do very well when Don is dictating her every move to her. But these are played more for laughs than for a meaty story. And, in keeping with the happy tone, Don eventually embraces who Hannah is, letting her do her own thing, and she soars, becoming the best partner he could ask for. It's kind of an early version of the hot-guy-makes-a-geek-girl-pretty-and-popular-then-learns-a-lesson-from-her tale that became so standard decades later.

There is something to be said about movie musicals of this era. Perhaps they can be considered fluff, as the only drama comes from the slightly rocky relationship road to a happy, romantic ending, but sometimes that's just what's needed to curl up with on a lazy afternoon. The dark, twisty fare filling our theaters today may often involve high quality writing, but viewers don't always want to be depressed by the material. Easter Parade, by contrast, will make you smile and improve your mood.

Just because the story is a little cheesy, and mostly designed to let the cast sing and dance as much as possible, doesn't mean that the acting isn't good, especially because they excel in the singing and the dancing. Garland is a veteran by this point, and knows how to deliver. Astaire is even further into his career, and the two together are terrific. Plus, the supporting cast includes Rat Pack member Peter Lawford (The Thin Man, Ocean's Eleven) as Johnny, Don's best friend.

Easter Parade does look pretty grainy, even in this new release. It is an old film, and it definitely shows its age, and in a few spots the color isn't consistent. But taking that into account, overall it's not bad. It definitely has more detail and richer colors than are available in past releases, and the flaws aren't enough to take one out of the viewing experience.

The sound is better restores than the picture, in my opinion. Sure, it does still come across as from another era from time to time, but you can clearly hear every note of Berlin's score, and the mix between dialogue, music, and other noises is handled well.

There are quite a few extras included on this new release. There's a commentary by Ava Astaire McKenzie, Fred's granddaughter, and John Fricke, an Oz historian, which may seem a little strange, given that these people had nothing to do with the film, but it's interesting. Also included is a theatrical trailer, radio promo, and an hour-long audio-only broadcast from 1951. Plus, outtakes and dailies from the cut song "Mr. Monotony," a featurette on the film, and an American Masters special about Garland are also included.

Easter Parade is a good selection for those who love mid-20th Century Hollywood movies. It's got the weight of the names behind it, and is thoroughly entertaining. With nice extras and a somewhat better picture, it's especially nice for those who do not yet own this title, but there are a couple of bonuses for fans who are upgrading.

Easter Parade is available now on Blu-ray.

Glee gets a "Makeover"

 
Glee undergoes a "Makeover" in the third installment of this fourth season. Blaine (Darren Criss), lonely without Kurt (Chris Colfer), the entire reason he transferred to McKinley, seeks to find his place at the school. He decides, after a soulful rendition of "Everybody Wants to Rule the World" and a ridiculous montage of Blaine in various clubs, that maybe he should be class president. This puts him at odds with Brittany (Heather Morris), who is seeking a second term.

Blaine and Brittany square off in a debate with their running mates, Sam (Chord Overstreet) and Artie (Kevin McHale). It's fantastic that Sue (Jane Lynch) says what many viewers are thinking: when did Vice Presidents and forums become a part of the school's student government? It's a clearly staged set up for a humorous story.

Which is fine. Glee is often a little over the top, and unlike Isabelle's arrival, this appropriately furthers Blaine's growth at a time when it is needed. The silly stuff, Sam and Brittany's ditziness, and the song that duo share, "Celebrity Skin," make things entertaining, and keep it from skewing too dark. Overall, this works, especially when sense wins out over stupidity, and because of the tongue in cheek method in which it is carried out.

I just do not like the setup of a Sam / Brittany pairing. Glee makes us care way too much about Brittany and Santana to ditch it now. It will take a heck of a lot to win me over, and the show is nowhere close to this point. Blaine and Kurt cannot split, either!

For his part, Kurt is already settling into a new role in the Big Apple, serving as an assistant to Isabelle Wright (Sarah Jessica Parker, Sex and the City), which leaves him little time for his boy back home. While it may be understandable that he is excited about his new position, ignoring Blaine's calls isn't completely in character, and Kurt deserves a good smack.

I do not like Sarah Jessica Parker. I can't pinpoint exactly why; She seems like a perfectly lovely person. I just can't stand the parts she plays, even after watching (and liking) all six seasons and both movies of Sex and the City.

That being said, Isabelle is a great part for Parker. She slides right into the Glee cast with ease, becoming a fairy godmother for Kurt. Her trio song. "The Way You Look Tonight" / "You're Never Fully Dressed Without a Smile." with Kurt and Rachel (Lea Michele) is also annoying, but again, fits wonderfully into the voices and events of "Makeover." It's odd, but I think this might be the role that actually makes me begin to appreciate this actress.

Unfortunately, Isabelle's introduction comes too soon. Kurt just arrived in the city, and instead of struggling, he lands in a cushy job with a boss who loves him and doesn't mind that he breaks into the office late at night so his roommate can try on clothes. It's coincidence that Kurt just happens to find the kindred spirit of Isabelle, but it's too much to be believable. Had Isabelle arrived late in the season, there would have been a sense of a deserved reward. Instead, what's easy to miss in the truly charming plot is that the whole thing should have been held off on until mid-season.

Will Kurt decide to give up singing to work in the fashion world? It's disappointing, but it doesn't come out of nowhere. Kurt's clothing has always been an essential element to the character, and his voice, while very good, isn't usually played with the Rachel Berry star quality. As long as the decision doesn't come easily, this could be a pretty respectable shift. I just wish Kurt's desk was next to Ugly Betty's.

Rachel, on the other hand, is right on schedule with her story. She no sooner succumbs to Brody's (Dean Geyer) wooing, enhanced by the song "A Change Will Do You Good," than Finn (Cory Monteith) shows up at her door, catching the two of them together. Right from the beginning of the season, this is the exact turn of events that Glee tees up, completely obvious in its arc. It's done well enough, but I'm glad to get past what we all know is going to happen so that we can find out which way the writers are going to take things now.

The final plot in "Makeover" involves Will (Matthew Morrison) stepping away from McKinley to work for show choirs on a national level. It's strange, even when it is explained, that the committee meets at Will's school, and it includes previous guest star Dalton Rumba (Michael Hitchcock, who has written several episodes), though I appreciate seeing Sean Gunn (Gilmore Girls) as another member. It also feels like a repeated story, because Will already struggles with leaving the school in a previous arc when he is offered a role on Broadway.

The way Will's story will probably go is that he leaves, realizes he made a mistake, and then comes back, too late to save the group's chance at another Nationals win. This is a rebuilding year, anyway, so letting Will step back will only add to the chaos of the leaderless New Directions. Let's just hope Sue is made the temporary director in his absence, as that could be quite funny.

Will and Sue filmed a song for "Makeover" entitled "Mister Monotony" that is cut from this episode. This is horrible because advance photos of this number are all over the internet, and then the installment didn't deliver. Ironically, the song was sung by Judy Garland in the film Easter Parade, from which it was also cut. Come on, Ryan Murphy! It's time for another web exclusive deleted scene!

All in all, "Makeover" is not a bad episode of Glee, nor an overly impressive one. It goes a bit too light on drama and bit too heavy on goofy fluff. But it furthers a couple of plots, and is pretty entertaining. This places it somewhere near the middle when ranking episodes of the series.

Watch new episodes of Glee Thursdays at 9 p.m. ET on FOX.

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! Article first published as TV Review: Glee - "Makeover" on Blogcritics.

"Extraordinary Merry Christmas" no quite so on Glee

     FOX's Glee fall finale is also their Christmas special, "Extraordinary Merry Christmas." Artie (Kevin McHale) is asked to direct a televised holiday program featuring the New Directions. He decides to make it a cross between Star Wars' own special, and The Judy Garland Show Christmas episode. Unfortunately, the filming evening is the same as the one the kids promised to help now non-Grinchy Sue (Jane Lynch) feed the homeless. Rory the Elf (Damian McGinty) reminds everyone what is really important during the taping, and afterwards the glee club heads over to be with Sue.

     "Extraordinary Merry Christmas" is a mostly stand alone episode, which is disappointing and unexpected. Last year's Glee Christmas outing keeps the main plot points going, while sparkling them with holiday cheer. This year, there are really two separate episodes forced into one: couples (romantic and platonic) celebrating Christmas together, and the kids' black and white holiday special, which takes up two entire acts. Considering how good the latter part is, and how bad the former one comes across, it would have been better to ditch any framework events, and just fully commit to the bold experiment.

     From start to finish, the Glee Artie-directed (in the show; the actual episode is directed by Matthew Morrison, a.k.a. Will) piece is great. There is a certain cheesiness to it, but that fits the spirit of what is being accomplished. From dancing Santas, to a long camera shot through the window, to Kurt's (Chris Colfer) affectation, there are some very obvious throwbacks to The Judy Garland Show, which is really an early '60s classic. Even the tongue in cheek joke about Kurt and Blaine's (Darren Criss) relationship and addressing the camera are period appropriate. Thus, this comes off very well.
     The Star Wars influences are fewer but make the whole thing more than a straight Garland knockoff. Seeing Finn (Cory Monteith) and Puck (Mark Salling) dressed as Luke and Han Solo, and then denying it for copyright reasons, is funny. Also, the real Chewbacca (Peter Mayhew) does a cameo! The only complaint here is that the opening credits are arranged completely out of sync with what the Christmas special actually is. Furthermore, Rory's speech at the end is stiff, possibly exposing McGinty's limits as an actor. Or it's just bad writing.

     The musical performances during these two acts in "Extraordinary Merry Christmas" are also quite good. Blaine and Kurt's "Let It Snow" is sweet, with highly enjoyable dancing, and will delight all of the couple's fans, a large percentage of Glee viewers. Adding close friends Rachel (Lea Michele) and Mercedes (Amber Riley) for "My Favorite Things" is smart, because it feels comfortable, and the grouping is totally believable. Finn and Puck lead the others in a rousing rendition of "Santa Claus is Coming to Town." Finally, Brittany (Heather Morris), who rarely gets to sing lead, does a wonderful job with "Christmas Wrapping" in another delightful dance number. All in all, quite the success.

     Except, why does Artie so readily agree to direct, right after stating he will not do TV because he doesn't want to "sell out?" And why is their show called the "Glee" Christmas special, instead of the New Directions? The kids don't refer to themselves as "Glee," that's just the series title. Also, that set and production value are far greater than the $800 budget given. Did the New Directions score some more primo donations? Fat Breadsticks money, perhaps?

     As mentioned, the parts of "Extraordinary Merry Christmas" that are not in black and white are pretty bad. Granted, the episode begins well with Mercedes killing "All I Want for Christmas Is You," but where is her Shane (Lamarcus Tinker) vs. Sam (Chord Overstreet) build up to go with it? It goes downhill from there.

     Rachel complains that Rory's "Blue Christmas" is depressing, then answers it with her own weepy ballad, "River." So did the writers of these two scenes not talk? Or was it just more important to squeeze in the numbers already recorded, story be damned? Why not cut "River," and instead put in Santana's (Naya Rivera) "Santa Baby," which is cut from the episode? Terrible timing, considering that Entertainment Weekly just named Rivera "Sexiest Female."

     The couple stuff in this episode of Glee is weak, at best. Besides Mercedes being shoved aside, Finn and Rachel get really hokey. Rachel demands expensive gifts, and Finn can't afford it, so he gets her something meaningful. This isn't enough for her. But she learns her lesson, just after Finn does spend the dough, and they donate the money from their nice presents to charity. Even for Glee, this story crosses the line of fluff and ridiculousness.

     Also ending up on the cutting room floor for "Extraordinary Merry Christmas" is a scene shown in the preview, where Blaine gives Kurt a present. It's a promise ring! This would much better serve the episode than Finn and Rachel's stupid bits, or even the tiny subplot about Rory accompanying Sam back to Kentucky for the holiday, supposedly in the car that neither the poor kid nor the exchange student owns. Back to the point, this is a major development for Kurt and Blaine. Will Kurt be seen wearing it? Will the boys discuss their commitment? Or will it be ignored, since the minutes were deleted this week?

     Finally, two songs stand out as unacceptable in this music-packed Glee outing. "Extraordinary Merry Christmas," while rightly given to Rachel and Blaine, sounds like so many other songs they have already sung. The series deserves applause for taking another chance with an original song, but write something worth hearing, please, instead of just recycling the same old trope! And "Do They Know it's Christmas?" comes off as extremely condescending when sang to homeless people's faces. Why are the less fortunate enjoying this? They should be angry. They live in America! Of course they know it's Christmas!


     Big misstep Glee. Hopefully, the series will get back on track when it returns in January on FOX.

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Article first published as TV Review: Glee - "Extraordinary Merry Christmas" on Blogcritics.