Jonathan Aivazi

Books on Books, Films on Films: Essay #1

2/5/15
Professor Geyh

In The Wizard of Oz (1939) directed by Victor Fleming, one rhyme shared

between the worlds of Kansas and Oz is the confrontation Dorothy has with Miss Gulch,
and later with the Wicked Witch. In Kansas, Dorothy relies on her folks for protection but
they are helpless against Miss Gulch, who commands higher authority. When the Wicked
Witch captures Dorothy, she must finally grow up and learn to stand up for herself, a
theme supported by evidence from scenes in the film.
In the Farmhouse Introduction scene (0:00 7:30), Dorothy and Toto are shown
on a dirt road fleeing from Miss Gulch. Dorothy instinctively rushes to Uncle Henry,
Aunt Em, and the farmhands, who all occupy a prominent space in her life, for their help.
Aunt Em, echoing the collective attitude of the adults, brushes her off and tells her to
stop imagining things, and in her mind, rebuffs Dorothys fears. Soon after, the
Seizing of Toto scene (8:05 10:30) depicts the success of Miss Gulch at convincing
Uncle Henry and Aunt Em. She exploits their law abiding nature and quickly resorts to
threatening, Unless you want to go against the law? Dorothy, appalled and horrified is
shown pacing and pleading with Uncle Henry you wont let her, will you? But as
Salman Rushdie would say, their inadequacy gives way, demonstrating the necessity to
stand up for ones self amongst weak adults in challenging environments (Rushdie 10).
Although Dorothy summons the courage to call Miss Gulch you wicked old
witch, shes still reliant on the adults around her for any meaningful action to be done.
Aunt Em accuses Miss Gulch of abusing her influence and retorts just because you own
half the county doesnt mean you have the power to run the rest of us, an indication of

Miss Gulchs ambition and zeal for control over vulnerable individuals, a key obstacle for
a child like Dorothy to overcome both in Kansas and in Oz.
In the House in the Tornado scene (17:40 19: 50), Dorothy looks on in horror
at the transition of Miss Gulch and her bicycle into the Wicked Witch and her broom.
Rushdie explains the window serves as a cinema view introducing her to what the
challenge that lies ahead (Rushdie 30). Indeed, the witchs sway is displayed both in the
winged monkeys at her disposal and in her unexpected appearance in the land of the
Munchkins (25:20 30:30). In that scene, she emphasizes how she is the most suitable
owner for the red slippers and intimidates Dorothy by hissing, Im the only one who
knows how to use them; theyre no use to you. Or Ill fix you as well. And your little dog
too. By speaking down to Dorothy and projecting authority she hopes that Dorothy will
be frightened and confused enough to accede to her wishes, similar to the tactics used by
Miss Gulch.
Dorothys experience in Oz teaches her to take control of her fate. Her tendency
to escape from familiar roads in Kansas stands in contrast to the scene where they
journey along a crooked and haunted trail to kill the witch. In the Melting Witch scene
(1:30:25), Dorothy, defies the Witchs order of Dont throw that water in order to save
the scarecrow. As a result, Dorothy rightfully earns the Witchs astonishment that she has
succeeded in growing up (Rushdie 10). In Kansas, Dorothy had latched on to a loving but
timid environment, which prevented her from shedding her childish behavior. Challenged
by the Wizard, Dorothy faces the Witch and her seemingly insurmountable power, thus
undergoing a transformative experience that molds her into an adult, a theme central to
the film, but universal in application for children everywhere.

Works Cited
1. Rushdie, Salman. The Wizard of Oz. London: BFI, 1992.
2. The Wizard of Oz. Dir. Victor Fleming. MGM, 1939.