Subtlety in Storytelling

You might guess from my earlier summary of the film that this might open with a night terror or something similar, but that’s not the case. The setup is, despite being telling instead of showing in most cases, pretty well done, and we get a lot of information just from the way things are said and presented to us. Here we have Dorothy Gale, here played by Fairuza Balk, whom you may remember from things like The Craft and The Waterboy. In the first moments of the film we see her staring listlessly out the window (through the reflection in her mirror, oddly, and this may be significant later), until her Aunt Em comes in, here played by Piper Laurie, whom most of you will remember as Carrie’s mother in Carrie.

Thou shalt not suffer a witch to– ah nevermind.

The clues that we get that Dorothy hasn’t been sleeping comes in the conversation.

“Can’t you sleep? It’s past 1 o’clock in the morning, Dorothy.”

“Aunt Em? I wish I could put my head on my paws and go to sleep like Toto.”

“Soon you will.”

This tells you pretty much all you need to know. Dorothy can’t sleep, and you can tell this has been an ongoing problem just through this little exchange.

I also really just love the “I wish I could put my head on my paws” line because it’s such a clever way of communicating what the problem is and how it’s affecting Dorothy. You can really hear she’s exhausted and wishes she could sleep but has no control over it.

We also get an indication of what “soon you will” means, as we shift to Uncle Henry, looking on and then eying a newspaper clipping in the next room.

Thanks to this, we have a setup without much need for dialogue to explain it. There will be discussion about it – Henry doesn’t understand why they should pay out money they don’t have so some doctor with an unproven new method of healing can prod at their niece, whom they have only recently found again after she disappeared during the twister. (There were reportedly deleted scenes of Uncle Henry going over saved newspaper clippings relating to her earlier disappearance; he feels protective of her. He doesn’t want to send her away.)

Aunt Em makes it clear this isn’t up for discussion. Dorothy hasn’t slept proper in the 6 months since the tornado and she talks about a place that doesn’t exist.

We hear this as Dorothy listens, feeling troubled, and it’s a nice, “quiet” moment for her (despite talking happening in the other room) where we can wonder on what she must be thinking, hearing her guardians speak of things she’s “doing” but can’t conceivably stop.

I like it because I like moments where they show children being aware of the problems adults have, even aware of their contribution (or lack thereof) to a problem.

Outside her window, there is a shooting star. Dorothy and Toto take notice, as this foreshadows the events that will move us forward.

Okay, some things about this movie and my nostalgia goggles.

image

Damn, I just got chills.

Okay, so this movie represents a very unusual sort of nostalgia for me. This isn’t just “OMG I WATCHED THIS WHEN I WAS WEE” for me. It’s not fandom in the same way that the Aladdin TV Series is and was fandom for me.

This movie is one of many that I watched when I was a baby, and beyond my love for the film itself, it’s nostalgic because I can remember how I experienced the movie as a toddler.

I was born in ‘84, so I was two when this hit home video. That’s pretty far back to remember (and I retain a lot of memories from my early years), but let me explain you a thing. When I say I remember how I experienced this movie, I mean that my two year-old brain took apart the details in the movie in a completely different fashion than it does now 26 years later. Music and sound, for instance, had more of an impact on me because I didn’t fully comprehend what they were in the context of the story being shown to me. I didn’t always know what a sound effect was doing or what it was meant to represent so it always stuck out to me as something ambient, atmospheric, even. When I saw shapes or objects that I did not recognize, I would focus on them intently, trying to work out just what they were. (With certain unrecognizable shapes and textures and colors I always thought “food” over anything else – which makes sense. First thing a baby does when they get hold of something is put it in their mouth.) I noticed faces in things that I probably wouldn’t have noticed now.

So yes, when I watch this movie, even though I’m seeing it as an adult, I can remember what my brain was doing when I used to watch it as a two year-old. I do this with a LOT of movies and old TV shows, like the live action Masters of the Universe movie, Willow, Disney’s Pinnochio and Flight of the Navigator, some of the old MLP specials, Care Bears, etc. I will do my best not to gum up the liveblog with too many of these observations, but I love talking about this.

Return to Oz – Walt Disney Pictures © 1985
Directed by Walter Murch

Content Warnings for disturbing imagery, old-timey insane asylums, stop motion animation of the damned, fire, and whatever the Hell Wheelers are. In some cases I really can’t put a finger on what should count as a potential trigger warning, other than the treatment of the mentally ill in the start of the film.

As I catch things I will try to post warnings, but as I said before, I highly recommend that people who fear they may be disturbed by the stuff covered and discussed here please blacklist/tumblr savior the tag “dvdfairy: return to oz”

This movie famously did “horribly” at the box office because this came out right after the Disney company switched CEOs, and as is tradition, the job of the new CEO is to trash any of the remaining pet projects of their predecessor. In fact, the studio changed regimes twice during production. As a result of this, Return to Oz saw a limited release (lasting less than a month), with no advertising, screened at only a handful of theaters, but in that time managed to recoup more than half the money it cost to make it. Because of its limited release (with no promos, toy tie-ins, etc), Eisner and Katzenberg were happy to deem it a bomb and left it at that. Its home video releases were huge, however, and it has since gained a cult following.

Slight change of pace!

I said I would be covering things other than Aladdin: The TV Series eventually, and I said I would like to do some movies. As a test run I’m going to be doing that because one of my jobs is on fall break as of today, so I have some extra time. So through the rest of the week, I’ll be liveblogging Disney’s Return to Oz, and over the weekend I’ll be covering the Aladdin episode “Sandswitch.”

For those of you who haven’t seen it, there are a million and a half places to stream it online. But of course it’s an underappreciated gem, so I recommend that once you’ve seen it you consider buying a copy. On Amazon instant you can rent ($2.99) or buy it ($9.99). I presently own a DVD copy, but I need something that can stay paused for extended periods of time without crapping out that will also allow me to screencap.

One of my favorite things in the world is sharing movies and television with people, so hearing reactions would be delightful. Fairly warned that the movie is nightmare fuel. A brief summary:

This movie is set after the original Wizard of Oz story, but it’s kind of a mixture of the film and the book and other adaptations (the film in that they’re still ruby slippers – too universal at this point to nix them). Dorothy is home in Kansas but can’t sleep because she has terrible dreams about horrible things happening in Oz. Her aunt and uncle decide to take her to a specialist in town who claims to have created an “electrical wonder” that fixes people’s minds when they get hurt or broken. She is left in an asylum, surrounded by the distant sounds of screaming because the doctor’s machine hurts people and then he locks them in the cellar. A little girl helps her escape before she can be operated on, and they’re lost in a storm. Dorothy wakes up in Oz, suddenly accompanied by one of the chickens from her farm (who can now talk), and comes to discover Oz is not as she left it. The only thing that remains of Munchkinland is what’s left of her old house, and the rest of the place is overgrown like it was abandoned over a century ago. The yellowbrick road is torn up, and the Emerald City is in ruins, its inhabitants turned to stone, ruled now by a despotic witch who answers to the one responsible for the destruction of Oz, the Gnome King.

I will include a full set of content warnings in the title splash page, but for those of my followers who know this might be disturbing for them, I recommend that you blacklist the tag “dvdfairy: return to oz” when the post goes up.

Maybe the animators decided to put Mozenrath on a rock in this scene because if he were just flying around the Crystal of Ix, he’d look a bit too much like Peter Pan.

Quite possible! I’m just working on in-world theories, for the sake of readers and RPers who have to take the incongruities and try to make them fit. …Not looking forward to doing that for Black Sand, come to think of it.

Conclusion: after ignoring Jasmine for a few minutes so that the episode could show Aladdin “fighting” with Mozenrath, we get some pretty satisfying closure.

image

I was a ilttle bit irritated by this sequence because it kind of cut Jasmine out of the story for a few minutes just so that Aladdin, as the episode’s standard damosel character (as far as plot structure is concerned) could have the agency the rescuer is supposed to have. He isn’t the one who’s been spending the entire episode bonding with Genie. I just felt really annoyed that most of the third act cut Jasmine out of the equation entirely when this has been her story, She’s so cut out of the story that Mozenrath, Aladdin, and everyone else involved completely forgot she was even there.

Yes, she got the last blow. So to speak.

image

But it had to be fast and sneaky and even as he’s being dragged through the air,Mozenrath just seems mostly annoyed that she’s getting in the way.

The next time you watch this episode, listen to him at the exact moment she drops him. That hyper irritated “No!” that’s not an “Oh shit, what are you doing?” no so much as a “You just spilled spaghetti sauce on my tunic” no.

Of course once he hits the beam it’s a different story, but it’s like the episode didn’t really feel like throwing Jasmine anymore bones after she got to kick him in the chest. Like she was “done” for the day after that. Oh and toss this out before you leave.

image

“You can go shave your back now.”

I dunno. still one of my favorite episodes, but there are bits that feel dissatisfying. This showdown at the end honestly should have been more about the two of them because Mozenrath unwittingly MADE it about the two of them.

I do love the bit at the end where the guards praise Jasmine for her cunning.

image

It at least affirms her capabilities to all the people at home who told her to go to her room while the men were talking.

Want more episodes? See the Episode Masterlist.
Hop on over to the Series Theories page for organized rambling.
Send me an ask if you have questions or requests or just want to talk about any ideas YOU got from reading all this.
See my support page if you’d like to send a donation!

So then we come to the Crystal of Ix. (And some more on Mozenrath’s powers.)

Not a crystal of Ix, but the Crystal of Ix. Apparently Mozenrath did his homework and found something magical that for once Genie isn’t too outdated to recognize.

I appreciate the layers in this because initially, yes, Genie appears to be afraid, until we learn this thing can’t capture anything more powerful than Xerxes. The rumors are untrue, then?

Only not really. Because it seems Mozenrath did more research than Genie did. There isn’t just the Crystal of Ix. If you know how, you can make another one.

And apparently Mozenrath knows how. Boy does he ever.

No idea how the logistics here actually work, but we’ll go with it. He uses Dagger Rock to create a larger Crystal of Ix, one that could catch Genie.

So you might remember that I made reference to this back in this post. Again, I really want to know what makes these crystals so much more special than a simple bottle, if Genies are made helpless once trapped in totally mundane objects.

On one hand, In “The Hunted” we either see examples of what can be DONE with a Crystal of Ix, or something new that Mozenrath, himself, developed, which is drain and bestow magic. So if that is a natural ability of Crystals of Ix, question answered.

And another bit about Mozenrath’s powers. We saw him levitate at the beginning of the episode. In fact he did an entire monologue while floating. But here he rides on a levitating rock.

In my own writing I’ve assumed that for whatever reason, standing on an object that’s levitating might be easier to maintain than just floating, which involves actively commanding gravity not to notice you. Whereas one floating object directed by the mind could be a single simple spell for him. Who knows? One’s good for gloating. The other is good for stability.

“My magical captives must obey a few ground rules. I don’t put up with obstinate servants.”

I like to think that part of this came from their first “showdown” in “The Citadel” when Genie made him back down. And then Genie got right up in his face, again, and showed him he’s still not afraid of him.

At all.

This will be a continuing trend that won’t really be subverted until “The Lost City of the Sun.”

The fact that Mozenrath went from “about to blow you to kingdom come” to “No, I’ve decided you don’t matter” in two seconds flat is both supremely douchey and kind of impressive.

image

image

 I mean seriously.

Also as much as I love the animation in this episode as a whole, as you can see I love pretty much every unflattering shot.