Well, not entirely. I think everybody knows the basics of goin’ off to meet th’ Wizard, but the specific shot in Nurse Betty is pretty subtle. There’s a lot of stuff later in the movie (calling Betty “Dorothy,” a blue dress with white apron front, etc.) that’s a lot more obvious; it doesn’t take a genius to pick this stuff up. My point in referencing that particular shot is that it happens fairly early in the movie and provides a major clue for interpreting what happens afterwards – and that casual viewers, I think, won’t really notice it, or put together what the director is doing with it. The more obvious Oz stuff that happens later may feel somewhat melodramatic and out-of-place if the viewer hasn’t noticed that it’s being subtly established from the beginning.
Let me suggest, as a starting point, that you read something off my website. I’m not offering it because I think it’s brilliant or anything; in fact, I think it could stand some rather serious revision. No, I bring it up because it gives insight into how I, personally, approach viewing a movie. Specifically, I’m referring to my essay on Kubrick’s final film Eyes Wide Shut. Start with the initial review, and then follow the link at the bottom to a much longer analysis. Be warned: It’s quite long. It also gives away basically the whole movie, which I don’t know if you’ve seen. Even if you haven’t, though, it might be worthwhile to read it first, and then rent the movie; it may make more sense if you have advance knowledge of what’s going on. It’s up to you.
As an alternative, in this thread I offer some thoughts (starting about a third of the way down the second page) about how to interpret Spielberg’s A.I., a movie I believe is deeply flawed but that nevertheless rewards the viewer who thinks a lot about it. I talk a bit about parallel composition, thematic echoes, and other aspects of the movie that, when subjected to careful analysis, greatly illuminate the filmmakers’ intentions. Again, I don’t know if you’ve seen the movie, but that may or may not matter.
Because if that’s the sort of deeper film appreciation you’re interested in, then I know where to start. But if you read either or both of them and say, oh, no, that’s not exactly what I was looking for, that’s helpful to know also. I’m just trying to find out where you’re coming from.