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Synopsis
L. Frank Baum’s timeless story The Wonderful Wizard of Oz gets a funky reimagining in this lavish adaptation of a landmark Broadway show based on the book. Diana Ross brings her showstopping star power to the role of Dorothy, here a Harlem schoolteacher who is magically transported to a surreal fantasyland that resembles New York City, complete with man-eating trash cans and a disco paradise. Propelled by the musical contributions of Quincy Jones and an all-star cast that includes Michael Jackson, Richard Pryor, and Lena Horne, this dazzling soul spectacular from legendary director Sidney Lumet reframes a beloved tale through the Black American experience, creating a powerful celebration of self-determination.
Picture 10/10
The Criterion Collection has issued a corrected 4K UHD edition of Sidney Lumet’s The Wiz. The film is again presented with Dolby Vision in its original aspect ratio of 1.85:1 on a triple-layer disc. The 2160p/24hz ultra high-definition presentation is sourced from a 4K restoration taken from a scan of the 35mm original camera negative. A standard dual-layer Blu-ray is also included, featuring a 1080p presentation of the film along with all video supplements.
As mentioned, this is a corrected pressing addressing errors found in the original release’s audio soundtrack. Since there were no issues with the video presentation (at least none that I am aware of), this appears to be identical to the transfer found on the first pressing. And that’s perfectly fine because, despite my lack of enthusiasm for the film’s production design, I still think the 4K presentation looks terrific. The restoration has cleaned up virtually all damage, aside from the occasional stray mark and a few visible artifacts generated by optical effects, leaving an otherwise spotless image. The scan captures a wonderfully fine grain structure, which the encode renders beautifully. The result is a rich, film-like texture that reveals an impressive amount of detail, showcased through the elaborate sets and costumes, right down to the individual hairs on the Cowardly Lion’s.
What really puts the presentation over the top, though, is the HDR and Dolby Vision grading. The film looks a little darker overall than I was expecting, but the wider range works wonders here, particularly during scenes that make use of the film’s vibrant and heavily stylized lighting. Shadows are deep and rich, yet details remain intact, never appearing crushed. The smoky interior of the Wiz’s chamber looks especially wonderful, with beams of light cutting through the haze and blending naturally into the deep blacks. Reflections and highlights have a nice shimmer to them, while the film's bold colors pop wonderfully. The dance sequences in Emerald City are especially striking, filled with vibrant greens, reds, and golds that pop brilliantly, even in the film’s darker moments.
All around, I think it’s still a wonderful looking presentation, and am still very happy with how it turned out.
Audio 8/10
The first pressing featured a new Dolby Atmos mix created by Universal for the restoration, and while I found it perfectly fine overall, I also didn't find it to be a particularly impressive Atmos track. Unfortunately, there were a couple of issues with the soundtrack outside of it being a bit underwhelming, as I would later learn, and that was dialogue missing from at least two sequences in the new mix: an exchange between Dorothy and an Emerald City guard before she and her friends enter the sewer, and a brief moment where Dorothy says the word "home" before singing the aptly titled song "Home."
This was not Criterion's fault, but rather an error originating with Universal. It was also easy to miss if you weren't already familiar with the film (like me) since it wasn't obvious that mouths were moving. In the first sequence, smoke obscures the mouths of the speaking characters, while in the second, without Ross audibly saying "home," it simply appears as though her mouth is quivering. Since the original disc was my first viewing, I didn't catch it, but longtime fans certainly did, with some even questioning why Criterion included the Atmos remix at all instead of simply offering the original soundtrack, or at least as an option.
Interestingly, that's exactly what Criterion has done for this corrected pressing, adding the original 6-track theatrical mix as a new DTS-HD MA 5.1 option. As expected, it restores the previously missing dialogue, but it's also a solid presentation in its own right. The musical numbers spread nicely into the rear channels, while voices and most effects remain anchored to the front speakers. Comparing it directly to the Atmos remix, the newer track does sound somewhat wider and offers a little more punch during the musical sequences, but I can't say I found the two mixes dramatically different in how audio is ultimately directed. Granted, part of that may be due to my 5.1.2 setup, though I've still heard some impressive Atmos presentations through it.
For those who still prefer the Atmos option, the good news is that Criterion has corrected that track as well, restoring the missing dialogue. This was actually a pleasant surprise. Once I learned the original theatrical mix had been added, I assumed Criterion was simply providing it as an alternative while leaving the Atmos remix untouched, but nope, they've gone on and corrected Universal's mistake and then gave viewers the option of listening to either version. I'm not sure why both tracks weren't included from the start, especially since Criterion has become better with offering multiple audio options in recent years (though not in every instance where they could), but I'm glad they addressed the issue with this new pressing.
In the end, both soundtracks now include the previously missing dialogue and both sound very good, with the Atmos mix maybe having a slight edge in overall sharpness and range.
Extras 7/10
The supplements are, of course, the same as those found on the original pressing and, unfortunately, still rather slim. That remains a little surprising given the fanbase the film has developed over the decades. At the very least, Criterion produced a new audio commentary featuring Michael B. Gillespie and Alfred L. Martin. I ended up really liking this track, which serves as a thoughtful and engaging appreciation of the film. Along with sharing their own personal experiences with The Wiz, the two discuss its production history and evolving legacy, which has steadily grown after the film was largely dismissed upon its original release.
They don't shy away from some of the film's more glaring issues (like the casting of Diana Ross in a much younger role) but they do deliver thoughtful defenses, noting for Ross' that it was key in securing the film's budget in the first place. They discuss what may have drawn Lumet to the project, primarily his desire to move away from realism, and what he ultimately brings to the material, despite it being unlike anything else in his filmography. Though all of this does prove more than fascinating, the commentary is probably at its most compelling when it explores both the film and the original stage musical through in regards to representation and cultural importance.
One other interesting point they raise in the track is that the film flopped so badly upon release that very little archival material appears to have survived (if any was created at all), which almost certainly explains the lack of substantial bonus features here and why Universal's previous releases were similarly slim. The original trailer is included, along with a short excerpt from what appears to be television coverage of the film's premiere. Running about 8 minutes, the piece features host David Sheehan delivering one of the most passive-aggressive red-carpet segments ever committed to videotape, repeatedly pointing out the audience's lukewarm response and noting that they're "not loving it." When Diana Ross finally appears midway through, he even seems to prod her into admitting the film was a mistake in one way or another, but she is clearly not having it and defends the film's merits.
The only other archival feature is a 12-minute excerpt from a 2001 episode of American Masters devoted to Quincy Jones, featuring Sidney Lumet discussing their collaborations, not only on The Wiz but also on earlier projects such as The Deadly Affair and The Anderson Tapes. Lumet touches on The Wiz from a couple of times, even noting that he originally wanted to shoot the film on location, but the segment is ultimately more focused on Jones as a creative partner than on The Wiz itself.
And finally, the release includes a written essay by Aisha Harris, who provides both an appreciation of the film and cultural context surrounding its release. I still wish there was more about the stage productions, but the commentary fills in most of the gaps well enough.
Closing
The video presentation and slim supplement selection are still the same as what was present on the first pressing, but this new run corrects the audio mistakes while also providing the original soundtrack as an option. This should be a much more pleasing release for fans.
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