So this August officially marks the 80th (Yes, EIGHTIETH) anniversary of this classic movie. If that still isn’t enough reason for me to review it now, than I honestly don’t know what is. This musical fantasy film was originally released in theaters by MGM on August 25th, 1939. Budgeted at $2.8 million, the studio’s most expensive produciton at the time, it failed to make a real profit and only garnered around $3.01 million at the box office at the time, likely due to Gone With the Wind being released at the same time. However, the film became a massive success on home video and television re-runs starting in 1956, becoming an annual tradition on CBS. According to the Library of Congress, it is actually the most watched motion picture in film history. In addition, it was one of the first 25 films to be inducted into the National Film Registry, one of the few films included on UNESCO’s Memory of the World Register, and is considered one of the most influential films in history. Directed by Victor Fleming, (Who also helmed Gone With the Wind) the film is (quite loosely) adapted from L. Frank Baum’s wildly popular novel The Wonderful Wizard of Oz, whose rights had been in Samuel Goldwyn’s possession for some time. Throughout pre-production and production, numerous writers, actors, and even directors were swapped as the script constantly changed, including an early attempt to pander to young audiences. Producer Melvin LeRoy consistently toyed with the runtime and content of the picture, including almost cutting “Over the Rainbow” and abandoning a stencil-printed transition from sepia-tone to color. It’s also the source of an infamous urban legend regarding the alleged on-set suicide of a Munchkin actor, which multiple people have denied is true. The iconic story follows Judy Garland as Dorothy Gale, a poor farm girl from Kansas living a dreary, seemingly unhappy life. After a major tornado strikes, she and her dog Toto leave their home to realize that they have been transported to Munchkinland, one of several provinces in the magical Land of Oz. However, she immediately draws the ire of the Wicked Witch of the West, played by Margaret Hamilton, who vows revenge on Dorothy for killing her sister with the falling house. Picking up ruby slippers off of the Wicked Witch of the East’s body, she sets off on the Yellow Brick Road to Emerald City, where the mysterious and all-powerful Oz can potentially send her home- and along the way she meets a brainless Scarecrow, a heartless Tin Man, and a Cowardly Lion. Do I really need to emphasize how important this film is to both the medium and American pop culture as a whole? All of the aforementioned honors above should already be enough to convince anyone of its significance, but the fact that it’s turned 80 years old is just remarkable. One couldn’t throw a stone very far without seeing its influence to this very day, both for better and for worse. Even though most people have already seen it in their childhood, there is a bit of worry that it won’t quite hold up watching it all grown up. Whether it turned out to hold some fairly offensive imagery or subtext or simply because of its old age, that’s always a concern for films like this. And while that fear seems true initially, The Wizard of Oz is still as magical and joyous and fun as you remember it being. Sure, the dialogue and its delivery is cheesy, some of the effects are dated, the songs are clearly written with younger audiences in mind, and a number of other things have noticeably aged. But measure it up against most other family films from the era, and it still holds up remarkably well because of its universality. The idea of home and belonging somewhere is something anyone can relate to. Granted, The Wizard of Oz removes a lot of the darker elements from L Frank Baum’s novel, but that arguably makes it more accessible. It’s not everyday that a film from 80 years ago can still be just as meaningful to kids of this era as it was to children of the time when it was released. I can only hope films of today will have a similar impact decades from now. Judy Garland is a silver screen legend who had a deeply tragic life and, for better and worse, this is the role she will always be remembered for. Her performance as Dorothy is iconic as ever, portraying an innocence and childlike wonder that’s desperate to see more of the world. She’s kind and courteous but never afraid to stand up for herself or the people she cares about, and has such a golden singing voice. She is joined by Ray Bolger, Jack Haley, and Bert Lahr as the Scarecrow, the Tin Man, and the Cowardly Lion, respectively. Their own songs are memorable in their own way, providing individual motivations and dance numbers. All of them have their own little traits that make them impossible to forget, and each has a reason to getting to the titular Wizard of Oz. Speaking of which, Frank Morgan is also memorable as the Wizard himself, even if he’s not in the movie much. He initially appears as a very intimidating figure but later turns out to be a lot more human and understanding. And while Billie Burke, Charles Grapewin, and Clara Blandick leave impressions as well, Margaret Hamilton is easily the most iconic as the Wicked Witch of the West. Covered in green makeup and carrying a terrifying screeching voice, she absolutely chews the scenery every time she’s on-screen. Her utter commitment to the role ensures her place among the most iconic movie villains of all time. And technically speaking, The Wizard of Oz had many innovations that are still impressive today. The Academy Award-nominated cinematography by Harold Rosson is still just as stunning as it was back then. Utilizing a lot of long-takes, we get the full scope of the unique fantasy world presented to us. And considering it was 1939, many of the in-camera special effects still hold up pretty well. The editing by Blanche Sewell is almost on the level of the camera work. The transitions between scenes is masterful and clean, keeping the pacing aloof for the whole 101 minute-long runtime. And while it does include the aforementioned “oners” quite often, it also includes enough cuts in each scene to keep things interesting. The first 20-30 minutes of the film are in a sepia-toned, black-and-white world. However, when we are transported to Munchkinland, we become immersed in the bright delights of Technicolor, one of the first features to be done is such a way. The shot transitioning from inside Dorothy’s house into Munchkinland is one of the greatest shots in the history of film. And the songs; oh Lord, the songs in this film. Harold Arlen and Edgar “Yip” Harburg are responsible for the soundtrack, easily ranking among the best in the industry. Ranging from “Ding Dong! The Witch is Dead” to “We’re Off to See the Wizard” to “If I Only Had a Brain,” each one is instantly recognizable, even if you’ve never seen the movie itself. Many of them have reprisals throughout, ensuring a sing-along with families for generations. But the clear winner is “Over the Rainbow,” sung by none other than Garland herself. Somber yet hopeful, the composition combined with her amazing voice make it a truly timeless song. It’s also sadly prescient for the singer-actress’ tumultuous life off-screen and the With endlessly memorable songs, iconic imagery, immortal characters, and quotable lines, The Wizard of Oz is an unquestionable watershed moment for cinema in every conceivable way. Even with its troubled production, Victor Fleming and MGM managed to completely change the game of moviemaking forever. It’s nearly impossible to imagine American pop culture today without this film; its influence and reach can be seen everywhere. There may exist another film as influential as this to come, but it’s probably far away from here, laying somewhere over the rainbow.