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The Wizard of Oz
The Wizard of Oz, released in 1939, became one of the first major Hollywood films to use Technicolor extensively, and its dramatic transition from sepia-toned Kansas to the vividly colorful land of Oz became one of the most celebrated visual transitions in film history, a technique made possible by the still-relatively-new color film technology. Judy Garland's performance as Dorothy, including her rendition of "Over the Rainbow," established the song as one of the most enduringly beloved pieces of movie music ever recorded, and the American Film Institute has repeatedly named it the greatest movie song of all time. The film's production was notoriously difficult, including a serious on-set injury to the original actor cast as the Tin Man from toxic aluminum-based makeup, and Margaret Hamilton, who played the Wicked Witch of the West, suffered significant burns during a special effects mishap involving pyrotechnics. Despite its now-legendary cultural status, The Wizard of Oz was a modest box-office disappointment upon its initial release, and its status as one of the most beloved films in American history developed substantially through decades of subsequent annual television broadcasts that introduced the film to successive generations of children.
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Big Fish
Big Fish, released in 2003 and directed by Tim Burton, follows a son trying to separate fact from his dying father's lifelong habit of embellishing his own life story with elaborate, tall-tale fantasy embellishments, presented through visually lush flashback sequences depicting the father's exaggerated personal mythology. The film's blend of genuine emotional father-son reconciliation with Burton's characteristically whimsical visual fantasy sequences gave Big Fish a different tonal register than much of Burton's more overtly gothic or macabre earlier filmography, reflecting a more sincere, less ironic sensibility. Its climactic sequence, in which the son finally embraces and continues telling his father's exaggerated stories himself during his father's final moments, offered a genuinely moving meditation on how personal mythology and storytelling can constitute a meaningful form of truth distinct from strict factual accuracy. Big Fish's combination of Burton's distinctive visual fantasy sensibility and its unusually sincere emotional core, less common in his broader filmography, made it one of the director's most critically well-received films outside his more typically recognized gothic aesthetic register.
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