Oz The Great and Powerful. “Spider-Man” Director in Oz

Sam Raimi – a director who taught generations of young filmmakers how to make a cult film with pocket change from a piggy bank and break into Hollywood’s top league through B-movie horror – this time took on adapting a classic of children’s literature by L. Frank Baum. After a brief detour with Drag Me to Hell and a return to comedic horror, the Spider-Man trilogy director moved on to big-budget entertainment cinema in 2013. Back then, Disney had been striving for a successful adaptation of Baum’s work for over fifty years, but apart from the cult-favorite (in some circles) and utterly bizarre Return to Oz (1985), it had little to show for it. Nevertheless, producers decided to take another shot at revitalizing a well-known franchise. But was hiring such an unconventional director as Raimi a good idea?

Functioning as an unofficial prequel to MGM’s classic The Wizard of Oz (1939), the film presents the story of Oscar “Oz” Diggs – a magician, conman, and heartbreaker who, like Dorothy, accidentally finds himself in an extraordinary land. There, as is often the case, much like Ash Williams in Army of Darkness, he is hailed as the long-awaited savior and a great wizard destined to free the world from a terrifying witch. But can a deceitful and selfish man like Diggs truly save Oz?

Raimi employs a technique reminiscent of 1930s films, where the real world (where the story begins) is shown in black and white and a 4:3 aspect ratio, while the magical land of Oz bursts into vivid colors and widescreen format. Oz itself is stunning, and the first glimpse of this fantastical world is breathtaking, especially considering that its version of Kansas is portrayed as extremely bleak. Raimi skillfully utilizes CGI to create a world that children will fall in love with. At times, it may feel artificial and over-the-top, but that’s exactly what Baum’s Oz is supposed to be. This is also one of the few films where 3D actually serves a purpose.

However, Raimi does not treat the classic material with absolute reverence (especially since this isn’t an official prequel). While the film is packed with cleverly integrated references to the previous adaptation, it’s still the work of a director who made The Evil Dead – he subtly weaves in horror elements, even within this candy-colored world. Living trees? Hideous witches? Bruce Campbell? Raimi winks at cinephiles at breakneck speed, and kids might even jump in their seats a few times. And that’s a good thing – the original film had its fair share of frightening moments, too. Both adaptations contrast sharply in visual and emotional tone, and in some places, this one even playfully mocks The Wizard of Oz formula – such as a scene where a character abruptly cuts off the start of a musical number. Raimi doesn’t take this all too seriously; he plays with the concept, fully embracing the fact that this is a fast-paced, high-energy entertainment film. Nothing more, nothing less – a fact underscored by James Franco’s ever-present ironic smirk.

Speaking of the cast, Raimi assembled an intriguing team that fits well into this “modernized” take on Oz’s story. James Franco, despite playing a rather dubious character, exudes charisma and convincingly portrays his transformation. The only drawback is that Franco often remains… just James Franco. He rarely disappears into a role, and it’s hard to believe he’s a small-time magician from Kansas rather than the guy who recently punched Spider-Man or smoked weed with Seth Rogen. He shines more in roles based on real people, like James Dean or Allen Ginsberg. That said, his performance is solid, and at least they didn’t slap white makeup on Johnny Depp.

Mila Kunis, on the other hand, seems to be having the most fun with her role, using the opportunity to showcase her acting skills by portraying two vastly different characters. She hams it up but always stays on the right side of the line, respectfully stepping into Margaret Hamilton’s shoes. She’s genuinely terrifying. Rachel Weisz and Michelle Williams also deliver strong performances, seamlessly fitting into their roles and complementing the rest of the cast. There’s not much chemistry between the leads, but they play their parts well, aided by an interesting supporting cast.

The film’s biggest flaw, however, is that despite its competence, it doesn’t stand out in any particular way. We’ve been to Oz before. We’ve seen colorful, magical worlds countless times. The hero’s transformation story is an archetype as old as time. Everything here follows a predictable formula, and even if you don’t know Oscar’s story, you can foresee every twist. It’s a classic tale—sometimes clever, sometimes engaging, but ultimately adding nothing new to the genre. While it’s entertaining, its traditional structure and familiar storytelling might bore some viewers.

Using modern technology to create strikingly immersive fictional worlds, Raimi taps into the power and grandeur of classic cinematic illusion. Oz the Great and Powerful follows in the footsteps of Hugo and The Artist, paying tribute to old-school filmmaking and its ability to fully immerse audiences in its world. However, Raimi’s cinematic “magic tricks” sometimes feel too clunky, and the film lacks the imaginative touch of his earlier works, where he compensated for technical limitations with sheer creativity. Like in his Spider-Man films, the spectacle occasionally veers into childlike simplicity. Although Diggs shares traits with Ash Williams, the overly whimsical setting and excessive sweetness make it harder to root for him naturally.

Oz the Great and Powerful is far from perfect—there were plenty of ways it could have been more innovative and surprising. But, like a skilled illusionist, Raimi fills the screen with enough emotion to balance out the film’s clichés and naïveté, making for an enjoyable two-hour ride. This new journey to Baum’s world won’t become a timeless classic like Dorothy’s 1939 adventure, but it’s still a solid Disney film—with all the strengths and weaknesses that implies. Younger viewers will have fun, while older audiences will smile and be reminded of Raimi’s past work.