Or someone treating Dorothy and her friends as a mere political pawn to get rid of the witch who is stirring up some inconvenient truths about Oz. (Yes, I saw “Wicked,” too.)
Absolutely. Your dedication and professionalism shine through and act as standards for us all.
Dorothy wishes to have an affair with the Wizard of OZ. The tin man, the scarcrow, the cowardly lion are all projectuons of her desires.
Its all about sex.
It’s interesting that you continue to focus on others rather than yourself. Very interesting.
As did Dorothy…
what? Hey, nobody said it was my turn on the couch, ‘It all started when I was 4…’
No, I’d say that all 3 Stooges spring from the Id.
Big time.
You people are so easily misled by a little Hollywood razzle-dazzle – cast Judy Garland, name her character “Dorothy,” and you’re all convinced that she’s a girl…
Come on. It isn’t possible that’s the ONLY problem you have with it…
The Wizard of Oz came out in 1939. The Vietnam war started in 1959. The three people named as character analogs for Dorothy’s companions were non-entities in 1939, (two of them being teenagers, and the other in Business School.) Nixon was only two years out of Law School. Agent Orange wasn’t introduced until 1946. If the movie really is a statement on Vietnam, and not just a wonderfully tortured imagining from Terrifel’s own mind, (bravo, by the way,) then it’s the most prescient bit of film-making I’ve ever seen. (Bladerunner being a close second. Wait, this isn’t the time travel thread… Forget I claimed to have seen that future.)
And although the “parallels” are blatently pasted on… no, scratch that… because they are pasted on, it brings up the question: how much of “psychoanalysis” is more a statement on the mind of the analyst than on the mind of the subject? It always seems to be about sex. Isn’t this just a reflection that the most sexually perverse people go into psychology?
That being said… Holy cow, that movie was about sex… nothing but sex from beginning to end.
The multi-colored horse? Dorothy’s desire for a “non-white Stallion” to service her.
Her little dog? Sometimes a dog is just a dog, but that makes it beastiality.
The flying monkeys? OMG. That is so perverse I can’t even go on…
(tongue firmly in cheek.)
Such foolishness. You have simply attempted to interpret the superficial presentation that the movie has made to you as if the trauma created were not hidden by layer upon layer of psychic obfuscation.
An alternative cognizance is available to the therapist willing to use their analytical ability to delve deeper than the conscious or even sub-conscious self justifications of the patient.
Looking for a source of deeper pre-conscious motivation may I suggest that we use the additional material created when the movie was written and sync the movie with a copy of **Pink Floyd’**s Dark Side of the Moon…
He does, but it took the Dope to make this clear. Firt, note that in the ‘real world’ of Kansas, Uncle Henry is Auntie Em’s significant other. Then in the dream scenes that make up most of the movie, magic is sporadic in its occurrence and impacts on Dorothy and her companions., not a steady state of predictable, manageable events, but a seemingly raandom sort of skip magic.
Of course it’s ALL about sex! Most fever dreams usually are. But I personally think this is most clear in examining the characteristics of Dorothy’s travelling companions:
SCARECROW: Appears at the first crossroads, which represents Dorothy choosing a sexual partner and/or technique. Dorothy becomes confused, and concerned that she may choose the “wrong way”. The Scarecrow, however, interjects that ALL methods are good, and she shouldn’t be afraid of experimenting. He even explicitly states that there’s nothing wrong with bisexuality: “This way is a very nice way. It’s pleasant down that way, too. Of course, some people do go both ways.”
TIN MAN: Obviously a manifestation of mechanical “marital aids”. He is immoble and impotent until Dorothy and The Scarecrow arrive, but becomes extremely animated once they oil him up. The Tin Man admits to being without any feelings himself, but sings about seeking passion and fulfillment. Upon seeing how well The Tin Man performs, Dorothy and The Scarecrow both eagerly accept him as a new member of their menage.
THE “COWARDLY” LION: Appears during a discussion of zoophilia/animal contact, which all members of the party (including the Scarecrow) are extremely reluctant to explore. However, despite the obvious references to bestiality, the Cowardly Lion’s true purpose is to introduce the concept of BDSM play to the group. He starts off presenting himself as a Top, but doesn’t have the experience to perform the role properly and can’t maintain the illusion of Dominance for very long. He then switches duties and offers his services as a Bottom to Dorothy & Co. , which they find very appealing.
I’ve got more, but my lunch break is ending.
I’m not so random as I just don’t keep to a schedule.
I think you’re forgetting a secondary but still important concept: Escapism.
Oz represents, for all its “danger” and “evil”, everything that Dorothy can’t find in her home of boring dustbowl Kansas… Adventure, obviously. There’s nothing to do around the farm, especially with Em’s instructions to, basically, stay out of the way. What about leadership? She has three physically more imposing characters following her every move. Power is another concept… Those ruby slippers of hers are supposedly of great power, though only demonstrated twice in the film. General stimulus in the form of vibrant color. Being where she is, color is a very hard thing to come by in great quantity, hence her amazement at the psychic’s trailer. Color may be a representation of many things, but I’m willing to take it at face value for now. It’s emphasized a great deal in the movie: The emerald city, the ruby slippers, the yellow-brick road… Even the horse is vibrantly-colored.
Just a thought.