The Wizard of Oz: An American Fairytale

A little over two centuries ago, the Grimm brothers - Wilhelm and Jacob - began collecting and transcribing traditional German stories. Folktales were passed down orally from one generation to the next, telling themes and lessons for the German people.

Kamenetsky comments on the nature of the Grimm brothers’ tales, saying that they “were more exacting in recording tales from the oral tradition, and even if they merely summarized an oral tale, they would exert all of their efforts in reconstructing its oral style in loyalty to its spirit” (152). Basically, amongst the classic fairy tale elements such as magic and good v. evil, the brothers also included features that were unique to German culture at the time. This included anything from the dark forests and small fishing villages across the nation to the hope of social mobility through marriage.

With this, the Grimm brothers created a book of stories that were by Germans, for Germans, and about Germans. This inspired the world - as well L. Frank Baum, if in thought. Eventually, MGM Studios takes Baum’s novel, The Wonderful Wizard of Oz (1900) into a feature film that reflects the American spirit, struggle, and dream through fairytale plots, themes, and elements.

Of this phenomenon itself, Hugh Ruckoff writes that “The book on which the movie is based... is not only a child's tale but also a sophisticated commentary on the political and economic debates of the era” (1). Although the book was released over three decades before the film, these underlying themes and ideas are carried into the late 30s, when the film was released; a time when the United States was recovering from a widespread economic depression. When The Wizard of Oz was released on film it provided a much-needed narrative for struggling Americans everywhere.

The Wizard of Oz was not a record-breaking initially; it had a budget of just under 3 million, and only made a little over 3 million. MGM Studios wanted to create a film using a new form of technology - the technicolor process. This method was used for Snow White (1937) and in February 1938, the New York Times ran an article, saying, “With the industry convinced that Snow White will be a box office success, there is a wild search for producers for comparable fantasies.”

In this way, the adaptation from book to film is similar in theory to why the Grimm brothers transferred oral stories to ones written down. At the time the Grimm brothers were transcribing folktales, more and more German people were learning to read, making this new medium possible. Likewise, by the late 1930s, Hollywood was booming and Americans had greater access to the movies. The emergence of film allowed for The Wizard of Oz to be brought to both a larger screen and a larger audience - thus, an American fairytale was born.

Part 1: Wizard of Oz: Just Another Fairytale

What makes European fairytales distinct from other stories are the elements and themes wholly present; anything from the symbolic journeys to the personified companions, and values of good vs. evil. As it turns out, so too did The Wizard of Oz.

Symbolic Journey - Oftentimes, a character is given a task or a voyage he or she must complete, which sets the story on course. In Hansel and Gretel, or Little Red Riding Hood, these characters must make their way through the dark and dangerous German countryside to achieve their goals. In their analysis of fairytale archetypes, student Gatricya Rahman writes that “the hero must leave the world of his or her everyday life to undergo a journey to a special world where challenges and fears are overcome in order to secure a quest, which is then shared with other members of the hero’s community.” (35).

Dorothy does just that, trekking through a symbolic representation of America’s vast landscape. The film takes her through the land of Oz, a place where dreams become reality, and in overcoming ongoing trials and tribulations, ultimately reaches her goal, of reviving Oz and returning home to Kansas.

Personified Companions- As with classic fairytale characters, Dorothy, too has companions to help her with her journey. These come in the form of the Scarecrow, Tin Man, and the Cowardly Lion.

In search of courage, The Cowardly Lion blurs the line between animal and human. Cinderella has her mice companions - in the original, it is a white bird, a reincarnation of her mother. The Frog King, obviously, has a speaking frog.

The Scarecrow, typically an inanimate object in a farm field, is alive and in need of a brain. The Tin Man, too, should not be able to walk or talk, as he is just metal in the shape of a man. And yet these characters walk and talk and aid Dorothy along her journey. At the same time, they undergo their own personal journeys, furthering this idea of magical realism through folk tales and folly.

Morals of Good vs. Evil - Fairytales are known for providing the audience with depictions of morality and ethics. Many can be found within The Wizard of Oz. Psychologist Bruno Bettelheim explains that “In practically every fairytale good and evil are given body in the form of some figures and their actions” (page 8).

This is best seen through the ongoing conflict between the Wicked Witch and Glinda the Good Witch. The two embody polar opposites, not just in their actions but in their appearances too. This sense of ‘good vs. evil’ provides Dorothy with a moral path to complete her journey on; a common trope found in many Grimm tales. Further, the very concept of a fairytale, or folktale, is to teach a lesson through storytelling. It’s why they live on from generation to generation; a guide on how to prosper as a culture and people.

Part 2: An American Tale

Despite the many similarities between The Grimm brothers’ transcriptions, The Wizard of Oz is not a European fairytale, but an American one. From the apparent intelligence of the Scarecrow to the patriotism found in a nation looking for hope, to the quintessentially American setting, The Wizard of Oz distinguishes itself as a new fairy tale: an American one.

Scarecrow - The Scarecrow, Dorothy’s first companion on her journey down the Yellow Brick Road, can be seen as a symbol for the Midwest farmer. With a head filled with straw, and an ignorantly blissful demeanor, the Scarecrow seeks a brain. Historically - and perhaps derogatory - farmers during the Great Depression were often viewed as lower class and inept. The Wizard of Oz challenges this narrative. As Hugh Ruckoff explains, “We soon learn that [the Scarecrow] is shrewd and capable. He brings to life a major theme that farmers in general were capable of understanding complex theories” (7).

While the Scarecrow spends the entire story looking for a brain, he discovers that he has one all along; he simply went his whole life being told he was brainless and therefore began to believe this to be true. This sentiment echoes the complaints of American farmers in the 1930s (Great Depression and World War II). The farmers felt they were being used and abused by corporations. The symbol of The Scarecrow, as a whole, is used to appeal to a suffering audience in need of hope and validation that they are capable, and by extension, needed.

Nationalism - Just as how the Grimm brothers' tales united a nation, so too did The Wizard of Oz. A famous line from The Wonderful Wizard of Oz reads: “No matter how dreary and gray our homes are, we people of flesh and blood would rather live there than in any other country, be it ever so beautiful. There is no place like home” (Page 44).

This line, in which Dorothy speaks of wanting to leave Oz, represents the American patriotism that Baum incorporated in his novel. When the film came out, Americans were struggling with the Great Depression, a great war was stirring, and there was a clear sense of bleakness across the country. Yet, this line, which stuck in the hearts and minds of many, gave the impression to thousands that their country was worth fighting for and struggling for.

This concept is very similar to the German nationalism movement brought on by the Grimm brothers, in which author Louis Snyder describes that “they conveyed the impression that their tales reflected praiseworthy national traits of the German people” (page 1). These tales, while they appear simple and childish, all represent a larger sentiment of patriotism. In a larger sense, The Wizard of Oz does the same.

Kansas - The settings themselves hold significance in The Wizard of Oz. In the Grimm’s tales, the setting is often a dark forest or a small village; these are common backdrops for German folklore. Likewise, The Wizard of Oz captures the epitomic American setting of a barren farm in Kansas. During the 1930s, thousands of Americans living in the regions of the Dust Bowl were affected by dry, arid conditions along with hopelessness for their economic futures (Schubert).

The Wizard of Oz gave these people hope, as it told them that a world of fantasy and magic was awaiting them, just as it was for Dorothy. Additionally, Dorothy’s yearning for home would later resonate with the Americans who, despite their struggles, were proud to live in the country they did. In the case of a fairytale, the setting is used to further appeal to an audience, and The Wizard of Oz used realism and fantasy to do so - from black and white to color and back again.

Capitalism - Money makes America. It inspires functionality and furthers the American dream of owning property, supporting oneself, and contributing to a capitalistic society. As Dorothy embarks on the Yellow Brick Road toward Oz, she is literally following the path toward supposed success. How will she get there? What challenges lie ahead? Can she get there alone?

From the late 1800s to the 1920s - and then again from post-WW2 to the 1970s, the American market was based on the Gold Standard. One’s financial status was determined by the quantity of gold they possessed. In following the Yellow Brick Road, Dorothy is told that following the gold (pursuit of wealth) will lead her to Oz, and by extension, home (salvation). Is this really the American dream? The Wizard of Oz turns out to be a farce, and she and her companions possess the ability to achieve their goals the entire time. Perhaps it’s okay to stray from the precedented path; either way, it will lead to teh same endpoint. A lesson perhaps; an American moral in an American fairytale.

Part 3: The Wonderful Wizard of Oz (An Illusion)

The Grimm brothers were just one example of the many European authors of Fairy tales. Charles Perrault, Christian Anderson, and Oscar Wilde all wrote stories that resonated with the people of Europe: monarchs, Christianity, and the family unit.

Laura Barrett comments on the nature of The Wizard of Oz’s genre, writing that “the traditional characters of such tales – kings, queens, princes, and princesses – were out of step with democracy, and magic itself was dwarfed by the reality of the American experience.”

The United States made itself out to be a new kind of nation: one with no defining religion, nor a ruling monarchy. For this reason, the story lacks royalty, kings, or queens, as well as a sense of overbearing Christianity. This aspect is one of the defining reasons as to why The Wizard of Oz should be considered an American Tale. What The Wizard of Oz does have, however, is the Wizard in the Emerald City. He represents a democratic machine; nothing more than a figurehead for the land. At a time when Americans sought help from the government during a period of economic and self-turmoil, the very support system put in place turned out to be a fallacy.

Here we see that the formula that once defined classic European fairy tales has changed to fit other cultures. For this reason, The Wizard of Oz r presents a new kind of fairytale: one far enough out of the reach of Europe that it can decide what elements ring true to its culture, and what could be made different.

Conclusion: So What?

For over a century, Americans have marveled at the creativity of Baum, and later what the film industry adapted. The Wizard of Oz has been dissected and analyzed for meaning more times than one can count, and yet the same developments always arise: it is a story not just of history, but of the future and the present. It’s a marriage between reality and fantasy, of good and evil, of far-off lands and lands close to home. In his book, Smith quotes Lord of the Rings author J. R. R. Tolkien:

The definition of a fairy story – what it is, or what it should be – does not depend on any definition or historical account or elf or fairy, but upon the nature of Faërie: the Perilous Realm itself and the air that blows in that country. I will not attempt to define that, nor to describe it directly. It cannot be done. (Tolkein 1965:16)

The Wizard of Oz, with its fairytale tropes and far-out lands, lends itself perfectly to this definition. Yet at the same time, Smith challenges this notion saying, “oral transmission of traditional narratives is not a common activity in a culture that relies upon the easy dissemination of mass produced fiction, and it is therefore necessary to realize that the fairytales we recognize are more part of literary tradition than an oral one” (5).

According to Smith, there is in fact a difference between classic fairy tales that come from oral culture and that of literary fairytales. But the Grimm brothers themselves changed and edited the stories told to them so much, that their works, too, could be considered literary rather than oral fairy tales.

Whether a tale is written down, shared through words, or shown on a big screen, it is undeniable that many of these stories share the same devices and elements, which make them all fairytales in a sense. The Library of Congress even has an exhibit honoring the tale, titled “The Wizard of Oz: An American Fairytale.” Just as the Grimm brothers sought to unite Germany under common themes and circumstances affecting them, so too did The Wizard of Oz.

In such a case, The Wizard of Oz is representative of the American struggle, spirit, and triumphs. So yes - The Wizard of Oz is an American fairytale.