There are a number of reasons for WANTING to like this movie. There are indeed some moments of inspired slapstick and Larry Semon deserves his dues for daring to take the story into new directions. But, uh, good luck reminding yourself of this as you try to sit through the movie.
Some boys play with electric trains to feel like big men, Semon played with L Frank Baum's novel and a film camera and then sought to inflict this film upon cinema-goers when it seems to have been made solely to amuse himself. Yes, Semon does some fine physical comedy. Giving credit where it's due, his looseness and comic 'floppiness' contain elements that will later be part of Ray Bolger's performance in the celebrated 1939 film adaptation of this story.
Unfortunately, Semon's enthusiasm is effectively much of this film's problem. The movie strings together slapstick moments, a story about Dorothy being a kidnapped and relocated princess of Oz, a perverted uncle, a racially-stereotyped black farmhand, and a convoluted set of scenes with a disturbing-looking grandfather reading the Oz story to his granddaughter and presenting the story. All these ideas that may seem inspired in isolation are not presented in any coherent form here, and the movie comes across as a contrived attempt at a star vehicle for Semon.
Yes, every film adaptation of a story will make departures from the original material. However, if other films put a few dents and dings in Baum's novel, this one smashed it into Semon's oncoming ego.
Watch it for historical interest, see Oliver Hardy developing the characteristics that would become legendary in his partnerships with Stan Laurel, chuckle at the occasional stunts and pratfalls, but don't expect to be too impressed... or know what the hell is going on
Some boys play with electric trains to feel like big men, Semon played with L Frank Baum's novel and a film camera and then sought to inflict this film upon cinema-goers when it seems to have been made solely to amuse himself. Yes, Semon does some fine physical comedy. Giving credit where it's due, his looseness and comic 'floppiness' contain elements that will later be part of Ray Bolger's performance in the celebrated 1939 film adaptation of this story.
Unfortunately, Semon's enthusiasm is effectively much of this film's problem. The movie strings together slapstick moments, a story about Dorothy being a kidnapped and relocated princess of Oz, a perverted uncle, a racially-stereotyped black farmhand, and a convoluted set of scenes with a disturbing-looking grandfather reading the Oz story to his granddaughter and presenting the story. All these ideas that may seem inspired in isolation are not presented in any coherent form here, and the movie comes across as a contrived attempt at a star vehicle for Semon.
Yes, every film adaptation of a story will make departures from the original material. However, if other films put a few dents and dings in Baum's novel, this one smashed it into Semon's oncoming ego.
Watch it for historical interest, see Oliver Hardy developing the characteristics that would become legendary in his partnerships with Stan Laurel, chuckle at the occasional stunts and pratfalls, but don't expect to be too impressed... or know what the hell is going on