OK, it’s another Disney movie. We all know, or at least we should, that Walt’s plantation makes the most psychologically destabilizing films on the planet as they mostly use the fulcrum of childhood to lever the world as they see it about. Hats off and kudo’s for in most part accomplishing that task for some of us. To start with, the 1939 Victor Fleming directed film version of, “The Wizard of Oz”, which was so replete with subliminal symbolism that not only did it conveniently define the context of good versus evil for the conflict that would erupt into a World War one month later. But it would also serve as equally symbolic fodder for mind control experimentation that would boom from the next decade up to the present.
So now we are off to the races again with a post “2012” Disney-ized version. “Hey, are we doing Apocalypse anymore? One that in many ways serves as another prophetic springboard into geo-political events boiling away on the near horizon. And directing it is master of mainstream cinema macabre, Sam Raimi, who can turn an old tottering ethnic European lady or nerdy suburban youth into the worst nightmare of hero or villain alike. We are minus one of the four original witches but remember the credits only promised this tale was based on Mr. Baum’s classic and given Disney’s bankable sense of borrowed script values, we can already see that they appended a bit of Stephen Schwartz’s “Wicked” thrown in the plot for good measure.
What we do get seems to be yet another subliminal template for the world conflicts to come. Those who may have been through Denver airport and seen the infamous murals that depict sinister scenes of conspiratorial armageddon might also find a couple of painted characters repainted into the initial framework of this film. As usual, I know this is all accidental, or at least some innocent cinematic button pushing research. Or is it? If I am not mistaken we have stereotypes of many of the players in American culture from cynical “in your face” black midget bureaucrats to non-violent ‘white on white’ Middlewestern Americans who can build anything but are useless in a deadly conflict. Then we got old world Retro Czarist Russians overdressed for any season as well as some bad ass airborne African ‘monkeys’ that end up stuck in a poppy field. Hey, Disney can’t help but stick the tail on the ‘monkey’ butt or hand out ‘little white smiles’ to any representations of darker skinned ethnicities any more than one would currently want to put up with the constant repetition of the ‘N’ word in polite company. “Welcome’s to da mansion folks!”
As with most things, a little over half way through all the matching ‘deja vu’s’ and yellow brick journeyed plot points that mirror the older film version where the requisite three contemporary stand-in’s have been assembled to replace the regulars from the 1939 epic, we end up in back in the middle of a very ‘whitey-ized’ version of ‘Middle America. Here of course the larger bubble of safety and security for all is burst for good. But where the whole bit really gets a bit unnerving is when in midst of the final climactic showdown just off to the back of the Emerald City’s crowd filled courtyard where we see a fairly accurate representation of Jerusalem’s Dome of the Rock. “Current Geo-Politics anyone?” Now someone has to help me with what a balloon gondola’s stuffed with gold coins exploding is all about? But given the latest headlines mixed in with a little “End of Days” and a sprinkle of Nostramdamos on top, you have a pretty heavy handed prognostication. “Hey, we’re saved, we’re all saved, by that T.A. Edison temporal illusion in the form of a big smokey sport stadium screen.” But then again, maybe it’s just me???