The Wizard of Oz (Rushdie's Analysis)

I vividly remember sitting down at a very young age with my parents, and watching the Wizard of Oz for the first time. However, this memory was not one of happiness and enjoyment, but rather terror and tear filled eyes. I don't recall what age I was exactly, but I know I was very young, because I specifically remember crying out of fear at the scene with the flying monkeys under the order of the wicked witch. At this tender age, the site of these bizarre creatures and an evil green witch was enough to deter me away from the movie, and it wasn't until many years later that I was able to enjoy it. That being said, Rushdie's recollection of watching this film at a young age could not have strayed farther from my personal experience. I found it fascinating that he was able to use this movie as his first literary influence, and was also able to compare it to his own life. As the book continues, his analysis of the film allowed me to view the film from a critical and analytical lens, which I always appreciate being able to do. I was especially intrigued by his frustration with the ending of the film, and how after the long journey Dorothy had gone through in Oz, the film ends with her wanting to return to the way life was before her heroic endeavors. When viewing this film, I had never fully considered the development Dorothy made as a character in the land of Oz. However, Rushdie's analysis helped me see the contrast between the dependent, childish Dorothy in Kansas, and the brave respected independent she becomes in Oz. That being said, I can relate to Rushdie's feelings of dissatisfaction with the end of the film, and how the line "there's no place like home" essentially reverses all the growth and change we see Dorothy go through. Rushdie also points to an interesting concept of feminine power in the film, which again, I had not recognized until reading his analysis. I was very intrigued by his point that the male power in this film is all an allusion, while the female characters are the ones who truly are powerful. In this sense, especially with reference to the time period in which this film was released, I do believe this is a notable power dynamic that can be recognized as feminist for the time period. Rushdie's discussion on the connection between "geometric simplicity" and the idea of home and safety is another valid and insightful point. I had not noticed the opposition between the safe geometric spaces and the "twisty, irregular" spaces of danger and uncertainty. I believe part of this would be a directors choice due to the fact that people automatically associate chaotic and unfixed settings as being unpredictable and potentially dangerous. In conclusion, I think Rushdie's analysis and research brings to light an innovative way to interpret a classic film that most people do not think far beyond the plot line of.