Oz the
Great and Powerful
Some
time in the past there were tinkerers who were great and powerful -- so great
that in this mundane world of ours it still would require a moment's recalibration
to not consider them actually half magic, if someone persisted in your face
that they were in fact so. Edison, if you want the best example, though you might also go with Benjamin Franklin, or whoever it was Scorsese's movie Hugo was worshipping. Stage magician Oz hopes to be like that, and spurns
women left and right to keep himself fixed to this goal. He'd have been okay if
this didn't also mean his deceiving women into his bed, but for this, judgment
appears to have cast upon him and the rest of his life is going to be about
lifelong serving the bequests of women, fixed to a spot rather than a free
wanderer, readily reached by three very empowered, three very great and
powerful, witch-women. But the actor playing Oz is James Franco, and so maybe
the people behind this film had in mind some revenge upon women too. For Franco
is sensitive and responsive enough to suggest to most sensitive souls that he's
hardly a man so involved with machines or aspiring to sky-high goals he's
dulled to humans, but there's something about how though he says and does and
expresses about as you'd expect and desire, he's still applied a thin layer
everywhere that registers as if it's all a lie--like you're in truth
interacting with some puppet of himself, that's close to him but not really
him, he's operating via remote control, a la Tony Stark's suit in Iron Man 3
-- his passive-aggressive revenge, let's not kid ourselves, on
Pepper, for her owning his day world while he couches in his basement cave. Franco
probably isn't so savvy, so great a magician he's made himself entirely
inaccessible to you; he can be figured out. But the thing is, what would
cause him to smirk like he's got something on you you can't balk, is that you
don't really want to figure him out: he's the only plausible man in town, and
Oz had become akin to the Castle Anthrax, managed by women who are becoming
insufferable to one another and in need of a man, that beacons out promise of
man-rule glory to get some hapless guy in to serve as some post to steady them,
as well as for stud. Anyway, Oz might become convinced that he's really great
and powerful, after apparently making up for every past sin against a woman
he's ever effected -- which is so much his foremost concern the last gesture he
makes to the latest evil witch haunting the land is an apology -- but the
audience knows this guy is owned by a need for reparations. How easy it is to
keep a guy like that from growing up -- just making every step ahead seem a
spurning of everything and everyone who preceded it, and he's back to being
yours. The end of the film shows two great ones battling-- the white good witch
vs. the more mentally balanced evil witch -- and when the good witch defeats
the evil one, it most certainly doesn't end with her apologizing but with her
sure of the rightness in making this once actually most beautiful and
regal witch (here played very stately by the stunning Rachel Weisz), the only
nightmare horror/grotesque to be found in the land -- something of irrevocable consequence just happened here. This is grown-up matter for
the only grown-ups in Oz. Ben Kenobi vs. Darth Vader at the finish of Star Wars – but at a time when boys who
know best toys and tech, a la George Lucas, aren’t going to be allowed to be so
ball-danglingly front and center, so these roles go to the girls while the guys do the patching up.
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