In just eight years, the Academy of Motion Picture Arts and Sciences’ top prize has gone to just about every major film genre of the era. With the crowning of The Great Ziegfeld as the ninth ever official winner for Best Picture, the Academy ushered into its ranks what has come to be a time-honored tradition of awards season- the biopic. Cynics may argue that this film is a sappy example of Hollywood’s self-loving of all things showbiz. Hindsight isn’t always 20/20 though, because, while the story may not be riveting by modern standards, this little gem holds plenty of acting, writing, and technical prowess to be worthy of its place in Oscar history.
As a young man, Florenz (Flo) Ziegfeld (William Powell) sets out to make it in show business, much to the chagrin of his music professor father. Over the years, Flo finds himself in constant competition with fellow promoter Jack Billings (Frank Morgan). From carnival attractions to singers to Broadway musicals, Flo always finds his way on top. Determined to be a game-changer in entertainment, Flo’s lifelong quest to be an American original has many ups and downs both personally and professionally.
At first this seems like quite a daunting film to take in. At over three hours long (including the overture and entr'acte), this is still one of the ten longest Oscar winners of all time. Your time will be rewarded though, and how! There is something for aficionados of every branch of filmmaking to appreciate here and even general audiences who don’t normally care to spot the little details will have a good time. Does it drag a little bit? Yes, particularly in the second act, when we see more of Flo’s personal troubles. That might make some people squirm a little bit but if you are wise enough to take a break between acts, you should have little trouble managing it.
Many of the sets are glorious in detail and (at times) impressive in scope. Choreography and blocking prove to be stunning feats if you take time to consider the logistics of the large-cast sequences. And what film about an early titan of Broadway would be complete without including the songs that took him to prominence? A few new numbers are added as well, all of which are delightful. For me though, the icing on the cake is the use of extended takes. Several of them exist but the granddaddy of them all occurs just before the entr'acte. It’s actually two extended takes edited together so seamlessly that you’d swear it was one ridiculously intricate 5-minute sequence. This scene single-handedly bounced this film up a notch into my ‘great’ range.
Tying the film together are the writing and performances. Anytime a film includes crisp one-liners and charm, it’s natural to credit the actors first. William Powell has a Clark Gable-esque presence as Flo Ziegfeld. He’s charismatic but authentic, a far cry from the morally ambiguous aura currently demanded from the biopic genre. Behind all the wit and charm lies some powerful writing. If you consider the length of The Great Ziegfeld, it’s all the more impressive that a writer can sustain all those magical qualities. Granted, it’s up to the actors to infuse those words with all the necessary pizazz to make the film watchable, but without a firm foundation, performances are nothing.
As much as I appreciate this film, I understand that it will not be everyone’s cup of tea. It’s not a musical in the way musical fans will expect. If you’re looking for an early Singin’ in the Rain, you’ll be out of luck. The musical numbers are all within the context of Ziegfeld shows. Old but not creaky, dated but still aging well, The Great Ziegfeld is a joyous blend of romance, drama, style and substance. If you find yourself in a position to take in this all but forgotten about Oscar winner, I recommend you do so.
Having only started rating films eight years ago, I’ve seen far more movies than I have rated here on my site. There are plenty of big name films that I have seen but have not re-watched in order to rate over the last few years. I grew up watching and loving The Wizard of Oz. For a long time, I have known that this film deserves my highest rating. It was just a matter of sitting down to take it in again.
Dorothy Gale resides in Kansas where she feels ignored by her family and persecuted by an old woman who hates her dog, Toto. Dorothy sings of a world ‘over the rainbow,’ where everything is paradise and longs to see it. When a tornado ravages the countryside, Dorothy is whisked away to the Land of Oz. Intrigued as she is by her new surroundings, Dorothy seeks to go home to Kansas.
Through the guidance of Glinda, the Good Witch of the North and the Munchkins, Dorothy learns that she must travel to the Emerald City and seek the help of the powerful Wizard of Oz. Along the way to the Emerald City, Dorothy meets a variety of colorful and helpful characters while also drawing the ire of the Wicked Witch of the West. Many hazards lie in Dorothy’s path but she takes them on with the help of her new friends, all of whom discover the very qualities they believe themselves to lack.
Everything about The Wizard of Oz is fantastic. The sets, the costumes, the music, the themes- it’s all there. I’ve never read L. Frank Baum’s classic story that this film is based on but it is clearly the root of its success. It’s hard to believe that this film was a box-office flop on its initial release. Over the years (and thousands of TV airings) America fell in love with this captivating and charming fantasy tale.
Before watching this film to rate it recently, my last viewing of The Wizard of Oz involved playing it to Pink Floyd’s Dark Side of the Moon album. While not as mind-blowing as the process is hyped up to be, it only serves to reinforce how amazing this film is. Without the dialogue to listen to, you can focus on the little details like the intricacy of the costumes or the fact that someone had to be walking around on a catwalk high above the set to make the Cowardly Lion’s tail swish around. If you ever have the chance to synchronizeThe Wizard of Oz and Dark Side of the Moon, do it. It’s a fun little experiment.
Sure, you could probably find a few cynics who will find minor details to pick at with this film but the legacy of The Wizard of Oz is so enormous that any minor flaws are easy to forget. That’s just part of the magic of this film. I can’t think of any other movie capable of eliciting the ‘warm fuzzies’ quite like this one. Not everyone may like The Wizard of Oz but there is no denying that it is one of the all-time greats.
This was an easy review and a tough review to write. Everything about this film oozes greatness, making it impossible to put into words. If you’ve seen the film, you know exactly what I’m talking about. I’m thrilled to declare The Wizard of Oz, only the sixth film in eight years, worthy of my highest possible rating.
In just eight years, the Academy of Motion Picture Arts and Sciences’ top prize has gone to just about every major film genre of the era. With the crowning of The Great Ziegfeld as the ninth ever official winner for Best Picture, the Academy ushered into its ranks what has come to be a time-honored tradition of awards season- the biopic. Cynics may argue that this film is a sappy example of Hollywood’s self-loving of all things showbiz. Hindsight isn’t always 20/20 though, because, while the story may not be riveting by modern standards, this little gem holds plenty of acting, writing, and technical prowess to be worthy of its place in Oscar history.
