The most complete version of 'Pinched'

As regular readers of Shades of Gray (all seven of you) have probably noticed, I've been trawling YouTube for things to review much more than I used to. This is because the place is a treasure trove of films I otherwise would never even have realized existed... and even if I had known, I wouldn't have seen them, because I am too cheap to buy DVD collections of silent films and cartoons from the 1920s and 1930s.

Every so often, I also come across someone who is using the YouTube platform to give a gift to all us film-lovers out here, at great effort. Most recently, I came across Dave Glass's restored version of "Pinched" (1917). He assembled it from three different sources, did some digital clean-up on some sections, and uploaded what, for now at least, is the closest we'll get to seeing what movie-goers saw when they settled into their seats 100 years ago.

Getting easy access to an effort like this is what makes the web so great... and it's makes it even greater because of the ease I can share it with all of you, right here, at the bottom of this post.


Pinched (1917)
Starring: Harold Lloyd, Bebe Daniels, Harry Pollard, and Bud Jamison
Directors: Harold Lloyd and Gilbert Pratt
Rating: Eight of Ten Stars

After being framed as his own mugger (Lloyd), a young man's attempts to avoid arrest lands in him jail for ANOTHER crime he didn't commit.

Like many slapstick comedies, "Pinched" is a loosely connected series of vinettes that each revolve around one or two set-piece gags. They are tied together in this one primarily by a checkered cap that blows off Harold's head while he is out driving with his girlfriend. It's a fun idea that makes the events of film seem a little more reasonable than they might otherwise have if the main character had just wandered from situation to situation and gotten into trouble completely randomly.

Check it out; it might be the most fun you'll have today!

'Ring Up the Curtain' has Harold Lloyd bringing down the house

Ring Up the Curtain (1919)
Starring: Harold Lloyd, Bebe Daniels, Harry Pollard, Bud Jamison, and William Blaisedell
Director: Alf Goulding
Rating: Seven of Ten Stars

An incompetent stage hand (Lloyd) gets the hots for a flirtatious leading lady (Daniels) and ruins a performance as a result.

"Ring Up the Curtain" is a fun little tale that demonstrates the importance of having a good backstage crew supporting the performers on stage... because all the complications in this picture arise from the bad choices made by a theatre owner (William Blaisdell) in hiring a bunch of drunks. He compounds his error by firing them all, except for one, as a troupe of vaudevillians are about to put on a performance. His catastrophic mistakes are to our benefit, however, as the chaos Harold the Useless Stagehand is hilarious to watch.

The film isn't perfect, though. After a strong start, featuring the sacking of the drunken stagehands, about a minute is wasted on the theatre owner abusing Harold and some shtick with a bowler hat that drags on for too long. Once Bebe Daniels and the rest of the acting troupe shows up, the film gets back on target.

The good outweighs the bad here, though. The scene were Harold out-and-out sexually harasses Bebe Daniels in the middle of the performance and ends up on stage fighting with her husband (played by Harry Pollard) is already comedy gold, but it's made even funnier by the way Harold forces an actor practicing his lines to hold the rigging ropes in the wing.

But don't just take my word for how fun this little movie is; I've made it easy for you to check it out by embedding it below, via YouTube.

'Two-Gun Gussie' is fun, but not remarkable

Two-Gun Gussie (1918)
Starring: Harold Lloyd, William Blaisdell, Charles Stevenson, Harry Pollard, and Bebe Daniels
Director: Al Goulding
Rating: Six of Ten Stars

A brutish trouble-maker (Blaisedell) swaps his photo in a police alert for that of a mild-mannered piano-player at the local saloon (Lloyd). When everyone starts treating the piano-man like a desperado, he becomes so convinced of his toughness that he eventually goes toe-to-toe with the man whose reputation was pinned on him.

"Two-Gun Gussie" is a fast-paced spoof of westerns that has very little plot to get in the way of the jokes... and what there is of a plot doesn't make a whole lot sense and feels forced. Since this film is only 10 minutes long that hardly matters though. This is one where you should just sit back and enjoy the ride.

The film is at its best during the kinda-sorta shoot-out between Harold and bartender 'Snub' Pollard, although Harold trying to intimidate the tough guy like he does the townspeople will also inspire a chuckle or two. The most disappointing aspect of the film is that Bebe Daniels is almost totally wasted in the role of a Salvation Army fund-raiser, with very little to do but be the object of a ridiculous insta-romance between herself and the main character. (One thing though--if there was ever any question that it's her playing Dorothy in the "The Wonderful Wizard of Oz" (1910) , this film should put that to rest; the panicked genstures she makes here are exactly like those she made as a young child actress.)

I've made it easy for you to enjoy this fun little film; it's embedded in its entirety below, via YouTube. I hope you enjoy it!

'Don't Shove' should be seen

Don't Shove (1919)
Starring: Harold Lloyd, Bud Jamison, Bebe Daniels, Lee Lampton, Noah Young, and Fred Newmeyer
Director: Alf Goulding
Rating: Six of Ten Stars

While trying to impress an eligible young lady (Daniels) at her birthday party, a young man (Lloyd) ends up fighting with rivals for her attention (Jamison and Lampton) and causing chaos at a roller rink.

With "Don't Shove", I'm starting to understand why Lloyd is remembered as largely playing charming characters who are looking for happiness and romance but who find trouble instead. I've previously commented on how I was put off by the "hero" he portrayed in a number of shorts I'm probably not going to bother write about, but here, he is generally reacting to provocations or trouble started by other characters; in seems that once he came up with his Glasses character, he increasingly left behind the obnoxious trickster character he typically portrayed in earlier films.

"Don't Shove" is a brief film, but it's jammed with action, gags, AND story from its opening moments. Highlights of the film include Bud Jamison angrily stalking Harold after he's gotten him ejected from a party they were both attending, and pretty much everything that follows after Harold exaggerates his rollerskating ability in a desire to impress  Bebe Daniels. And, this is another film where it's fun just to watch Bebe Daniels act--she'd been in front of movie cameras for more than a decade at this point and her experience shows.

I've embedded "Don't Shove" via YouTube below. Why don't you take a break, watch it, and spend a few minutes laughing?

Before John Wick... there was Harold Lloyd!

And he even took on all comers--the police, a shadowy group of assassins--and walked away!

Well... presumably he walked away. We don't know for sure, because only fragments remain of the movie where Harold Lloyd came across a band of terrorists after following the beautiful Bebe Daniels back to their lair. I can't really review the movie, because all that remains is a chunk of the middle... but based on what's here, I think this would have been a solid 8 of 10 rating, perhaps even a 9.

Take a look. It's the best action film you'll see this weekend (aside, maybe, for "John Wick: Chapter Three").

'Over the Fence' is silent near-perfection!

Over the Fence (1917)
Starring: Harold Lloyd, Bebe Daniels, Harry Pollard, and Bud Jamison
Directors: Harold Lloyd and J. Farrell MacDonald
Rating: Nine of Ten Stars

When his coworker (Pollard) sneakily grabs both his tickets and date (Daniels) to the ballgame, Harold (Lloyd) ends up on the field and playing for the home team after he is mistaken for a late-arriving star player.

"Over the Fence" absolutely hilarious, both as a romantic comedy and a sports comedy. It is perfectly paced--there is literally not a second wasted in the film--and every joke and gag lands solidly. With this film, I think I finally see why Harold Lloyd has gained the reputation of portraying an Everyman sort of character in his films, as he doesn't go out of his way to be jerk, and I think everyone who's been on a date that goes sideways can relate to some of the goin-ons here. (I've seen a couple references that imply the version I watched is a shortened one. I don't know how accurate those comments are, but if I did view an edited version of the film, I want to praise the editor as strongly as the creators and actors in the original film.)

Harold Lloyd, Bebe Daniels, and Harry Pollard are all great in the film, with Lloyd and Daniels giving especially good performances. Daniels, once again, impressed me with her range of acting ability. She seems to have been able to play any type of female character the script called for, unlike her male co-stars which mostly seemed to have a type that they stuck to.

That last statement above isn't entirely fair to Harold Lloyd. I have mentioned previously that there are a number of these Lloyd/Daniels/Pollard shorts that I haven't bothered writing about, because I so disliked the main character as portrayed by Lloyd. Reportedly, with this film, Lloyd reinvented his screen persona, leaving behind the rotten troublemaker that has so annoyed me and moving toward a more sympathetic figure. Looking back, I can see the change--the films I couldn't stand tend to be ones where he hasn't worn glasses but instead slightly exaggerated make-up and odd clothes, while the ones that I like he is wearing glasses. That was Lloyd's signal to himself and his audience that his screen character was not different.

The only, minor complaint I have with "Over the Fence" is that Harry Pollard is in exaggerated, clownish make-up. I realize that this film marks a transition from the earlier films, but it seems an odd choice that Pollard was the only character in the film with such clownish make-up on. It could also be that in the century that has passed since this film was released has made a significance to Pollard's exaggerated make-up fade to the point where I just don't understand it.

"Over the Fence" is just five minutes long, and I strongly encourage you to take the time to check it out; it could just be the most entertaining minutes of your day. I have even made it easy for you, by embedding it below--via YouTube and the Christopher Bird Collection.

The OTHER 'The Maltese Falcon' film adaptation

The Maltese Falcon (1931) (aka "Dangerous Female" and "Woman of the World")
Starring: Ricardo Cortez, Bebe Daniels, Otto Matieson, Dudley Digges, Uma Merkel, J. Farrell MacDonald, and Thelma Todd
Director: Roy Del Ruth
Rating: Seven of Ten Stars

After his partner is murdered, private detective Sam Spade (Cortez) finds himself drawn deeper and deeper into involvement with a growing assortment of odd characters, each of whom may be the murderer, as they chase each other in search of the elusive treasure known as the Maltese Falcon.

Most film buffs have at least heard of the 1941 film "The Maltese Falcon" with Humphrey Bogart, Mary Astor, Sidney Greenstreet, and Peter Lorre, but few know that it's a remake of this 1931 picture of the same name, and even fewer have seen the original. (I admit to not knowing of the existence of the 1931 version until it showed up on my radar, due to my current Year of the Hot Toddy project, since Thelma Todd has a small role in it.)

This review draws on my experience with both films. If you haven't see the 1941 version, I recommend holding off until you've seen this one. The later adaptation is the superior film, but the 1931 version has its strengths as well. It pales a little in comparison to what is an undisputed masterpiece, but it has some strengths that the other film couldn't possess.

Since both films adapt the same novels, the story lines are mostly the same, as are the characters and their relationships to each other. The films also share the similarity that the characters that come in and out of the story are more fun to try to puzzle out than the intersecting mysteries of murder and treasure hunt.

One very important difference between the films is the nature of the main character, Sam Spade. In the 1941 version, Spade is a dour, snarling man that is being worn down by the world, but in the this one, Spade smiles his way through even the most deadly of encounters, having fun laughing at danger while chasing after everyone with a nice pair of breasts. Where the later picture is film-noirish in its tone, the 1931 version hews closer to the pulp fiction stories in the magazines of the time; they were stories about tough people doing nasty things, but jokes were being cracked and lots of fun was had along the way. The two Sam Spades are the main source of these differences.

While Ricardo Cortez is the undisputed star of the film, I think Bebe Daniels (who by the time this film was made had already spent nearly two decades in front of film cameras, enjoying a career that survived not only the transition from child to adult star but also the technological leap from silent to sound films) deserved the top billing she has in this picture. She's a far more effective "mystery woman" than Mary Astor, in no small part due to the fact that there's no dancing around the fact that she uses sex and her good looks as lethal weapons. After having watched Daniels in a number of silent movies she made as a teenager--where she played everything from a loyal girlfriend, to a con-artist, to a girl coyly as much on the make as the film's male lead--it was interesting to see her play a character who is apparently rotten through and through. On many levels, the more overt approach this film has to Sam Spade's womanizing and the sexuality of the film's femme fatale makes the characters more interesting and a little deeper.

For example, the affair that Spade is having with Ida Archer, the wife of his murdered partner, is not just hinted at here; it's out in the open, and it's used more effectively as a plot point and as a looking into the nature of the characters than in the 1941 version. At one point, Spade treats Ida Archer extremely coldly, given the affair, and depending on how you choose to interpret that in the context of when he's doing it, it shows that there's a truly vile human being hiding behind that broad smile, or Spade is just as devious  and calculating as the crooks he is trying to deal with throughout the picture. (Personally, I like to think it's the latter, a notion I'll come back to below.)

I found this to be a very entertaining little movie when taken on its own terms. When compared to the 1941 version, the supporting cast can't hold a candle to their counterparts, with the exception of Effie the Secretary; I really enjoyed Uma Merkel. Thelma Todd is more memorable than the Ida Archer in the 1941 version, but that's more because her relationship to Spade is more blatant than anything she does as actress here. Nonetheless, knowing that Todd was under contract to Hal Roach when this film was made, and busy appearing in short films opposite Charley Chase as well as gearing up to headline her series of comedies, I can't help but imagine that she was "lent to Warner Bros. for an afternoon of shooting, with the intent of boosting her resume and lifting her profile. In the end, Todd did her usual excellent job, but it really isn't much of a part.

One part of the film that I initially didn't like, but which grew on me as I thought about it, was the final scenes between Spade and the "dangerous female", Wonderly. My initial reaction to the film's wrap-up was that it was another one of those Hollywood insta-romances that have spoiled so many otherwise good movies for me... but then it dawned on me that there was more to the scenes than that. It struck me that those closing interactions between the two characters were a redemption of sorts--their sexual fling had reawakened some of the humanity that they had buried deep within themselves, and despite their natures, they had actually connected on a real and emotional level. Ultimately, it was too late for either character to derive any happiness from this realization, as the many lies and deceptions they engaged obscured their emotions even from themselves. (Cortez's expression when the truth about where he and Wonderly truly stand with one another is probably the best bit of acting he does in the entire film.)

You can get 1931 version "The Maltese Falcon" along with the 1934 spoof, "Satan Met a Lady", the 1941 version, and some great bonus features in the two-disc set The Matese Falcon: Special Edition. It's a great value, and I think it's a set any lover of classic mystery movies will enjoy.

'Hey There' is non-stop fun with great performances by all lead actors

Hey There (1918)
Starring: Harold Lloyd, Bebe Daniels, William Blaisdell, and Harry Pollard
Director: Alfred J. Goulding
Rating: Nine of Ten Stars

A man (Lloyd) goes to great lengths to return a letter dropped by a beautiful actress (Daniels). His attempt at gallantry throws an entire movie studio into chaos.

There are few films where "action-packed" is a more apt discriptor than it is for "Hey There". From the first fade-in to the final image of Harold Lloyd's character in the street, there is not a second wasted. Even better, as tightly packed as the script is with non-stop gags, its so well crafted that it provides some very nice character-defining moments that greatly enhance the film and give Bebe Daniels, William Blaisdell, and Lloyd to engage in acting that goes beyond merely clowning around. The writer of the film is unknown, or I'd be praising him by name.

This is another one of those films where Lloyd plays a guy on the make, but he comes off as more likable than in some of the others, partly because he's trying to do a nice thing (even if his motivations aren't entirely pure), and he's not intentionally trying to be an ass.

While the storytelling and performances by the actors are excellent, the film is made even more worthwhile by the way it takes a couple of silent movie tropes and demolishes them. One of my favorite bits in the film revolves around the nearly obligatory scene where a character in a rediculously bad disgusie tries to bluff one of the other characters.

I think even if you don't usually like silent movies, you might enjoy this one, due to the non-stop comedy and solid acting by the performers. That is doubly-true if you enjoy "behind the scenes"-type fictionalizations of the movie business and the personalities who work in it. (If you're a lover of hashtag activism, the film might also hold appeal, because it shows that directors have been sexually harassing actresses since the dawn of filmmaking.

I've made it easy for you to watch "Hey There" by embedding it below, via YouTube. The last bit of the movie is in bad shape, and I think a small or two piece may be missing toward the end as well, but it won't detract much from your enjoyment..

'The Flirt' will give you a few chuckles

The Flirt (1917)
Starring: Harold Lloyd, Bebe Daniels, and Harry Pollard
Director: William Gilbert
Rating: Six of Ten Stars

A man on the make (Lloyd) takes a job as a waiter so he can flirt with a pretty cashier (Daniels).

As I sample Harold Lloyd's short films, I am finding myself more annoyed than amused by them. So far, I haven't bothered writing up any that annoyed me, because the comments would basically be the same: "I barely made it through this film, because Lloyd's character was such an unpleasant jerk I had no reason stick with it."

"The Flirt" was, fortunately, not one those. Its a brief film (7 minutes long) that sees Lloyd play the sort of unpleasant character that was his stock and trade in his early pictures--a self-centered jerk who goes looking for trouble and causes chaos everywhere he goes through indifference to others and laziness. I found that character tolerable in this one, in part because he is set up from the beginning as a total heel, but also because his obnoxious behavior is very, very funny in this one.

The film opens with Harold in the park looking for a beautiful girl to hit on. He spots Bebe Daniels, follows her to work, and proceeds to wreak havoc in a retraunts dining room and kitchen as he tries to create a window of opportunity to flirt with her. The five minutes of the film where Harold "works" in the restaurant are a series of rapid-fire series of sight-gags and prat-falls that culminate in a patron becoming so frustrated that he goes on a shooting spree in an attempt to give Harold the sort of tip he so richly deserves. In addition to Lloyd's antics, there's a burly uncredited actor who plays the eatery's chef who also gets to be quite funny--and who at one point also nearly gives Harold what he deserves. This film also sits better with me than other Lloyd films I've seen, because of the ending. It's about as perfect and amusing as I could have wished for.

I've embedded "The Flirt" below, and I encourage you take a few minutes to watch it. If you like absurd physical comedy, I think you'll enjoy this one, even if the lead character is a bit unpleasant.

When grifters and con artists collide!

Are Crooks Dishonest? (1918)
Starring: Harold Lloyd, Harry Pollard, Bebe Daniels, and William Blaisdell
Director: Gil Pratt
Rating: Eight of Ten Stars

Two grifters (Lloyd and Pollard) engage a pair of fake spiritualists (Blaisedell and Daniels) in a battle of wits. Unfortunately, the grifters came to the fight unarmed.

"Are Crooks Dishonest?" is a fast-paced and uncomplicated film with the characters breezing through the antics and action with barely a wasted moment. A small part of me is annoyed by the way the second (and best) half of the film is set up by a couple extreme conincidences, but the entire cast is so charming and the film so much fun that I can overlook it. 

The best parts of this 14-minute film take place in the secret-passage laden, gadget-festooned "mystic temple" of Professor Goulash where William Blaisedell and Bebe Daniels bilk the gullible with their fake spiritualism, and where Lloyd and Pollard try co-opt their scam. From Lloyd using the trick doors to evade the police and an angry Professor Goulash; to Daniels setting out to turn the tables on Lloyd and Pollard when they try to con her out of money she stole from them earlier in the film; to Lloyd and Pollard just generally clowning around, it's all expertely executed and extremely funny.

Pollard and Daniels in particular get to shine in this film, as they share one of the funniest moments in it. Daniels is an absolute joy to watch in this film, and it's great the way her character is also the most fun of the four leads in the story. (Her reactions to the clumsy cons of Lloyd and Pollard are priceless.)

This entire film is embedded via YouTube below, and I strongly recommend you check it out. The time you spend with the rogues "Are Crooks Dishonest?" may be the best quarter-of-an-hour of you day! Even better, either the film has been carefully restored, or this was digitized from an amazingly well preserved copy, because few films over 100 years old are as clear and crisp as this one. (The look of the intertitles make me think it's the latter.)

'Off the Trolley' is a perfect title

Off the Trolley (1919)
Starring: Harold Lloyd, Bebe Daniels, Harry "Snub" Pollard, Sammy Brooks, and Bud Jamison
Director: Alf Goulding
Rating: Seven of Ten Stars

Unpleasant characters (Lloyd and Daniels) ride a streetcar with the world's most inept driver (Pollard).

Since it's a 100-year-old silent film, some are prone to dismiss "Off the Trolley" as not worth their time. Those people would be missing out on seven minutes of nearly non-stop amazement and laughter... because this one packs in more madness into its brief running time than many feature-length comedies do at ten times the length.

Harold Lloyd plays one of those trickster characters that are lots of fun in comedies and comic strips but you know would be in prison (or dead) if they existed in the real world... and he's in fine form in this picture. From his initial encounter with hotty ticket taker Bebe Daniels on their way to work, through his slapstick escape from an ever-growing crowd of cops, his conflicts with other passengers on the streetcar, and his dealing with would-be robbers, are all incredibly funny and spectacular examples of well-timed physical comedy.

Bebe Daniels is also lots of fun in this film. I'm usually annoyed by insta-romances, but here it seems clear that all she's looking for from Lloyd's character is a "bit of fun"... which is for the best, because even if she had something more in mind, it would end as soon as she discovered what he gets up to and does to her behind her back. (Although, frankly, based on their first interaction, part of me thinks the Daniels and Lloyd characters probably deserve each other.)

Since you're here already, why don't you take a view minutes to check out this great little film, embedded below via YouTube?

This early fantasy film is hokey but still fun

The Wonderful Wizard of Oz (1910)
Starring: Bebe Daniels, Robert Z. Leonard, Alvin Wyckoff, Hobart Bosworth, Winifred Greenwood, and Olive Cox
Director: Otis Turner
Rating: Seven of Ten Stars

Dorothy Gale (Daniels) discovers a scarecrow (Leonard) near her home is alive and aware. She unties him from the frame he's on, and he saves her, her dog Toto, and a pair of farm animals from a sudden cyclone that sweeps everyone off the strange and magical land of Oz. Here, they make new friends and enemies, including the evil witch Momba (Greenwood).

"The Wonderful Wizard of Oz" is reported to be one of four different film adaptations that were released in 1910, and it is the only one that survives to this day. The version I watched is a bit blurry and is missing both opening and closing credits/title cards, but it is in much better shape that films of more recent vintage I've sat through. It's either been restored, or film-lovers had the extra-ordinarily good luck of a copy having been kept somewhere under the exact right conditions for preservation.

Seeing that this film is almost 110 years old as I write this review, it's tricky for me to pass judgement on. For example, to my eyes, the film feels like a community theatre performance--a well-staged and elaborate community theatre performance but still at the level of community theatre--and that feeling is enhanced by the fact that the film consists entirely of static long shots with each scene framed as if it was unfolding on a stage... as well as the costumes worn by the actors playing the Cowardly Lion and the farm animals that are following Dorothy. Most of the special effects in the film are also mostly of the kind that would work well during a live stage performance, and I found myself chuckling more than I suspect the director would have liked during the scene where the cyclone spirits Dorothy, the Scarecrow, and the random farm animals following her around to Oz.

Still, this is a very entertaining film, even if I wonder about some of the choices that its writer/director made back then. At 13 minutes, this is more of an outline (or a highlight reel) of a Wizard of Oz movie than anything else, and while most of the iconic characters are here, some might have been best omitted since, to viewers with no prior knowledge of the Wizard of Oz novels, they seem to serve no purpose other than being weird for the sake of being weird. For example, Glinda the Good Witch shows up (levitating with a hilariously bad bit of wire-work), turns Toto into a giant dog that puts the Cowardly Lion in his place. Since neither Toto nor the Cowardly Lion do anything noteworthy outside this scene, and the Good Witch is never explained nor appears again in the film, the smart thing to do would have been to just omit those characters and have spent more time on the scenes in and around the castle of  Momba the Evil Witch. (What we do see is some of the neatest and funniest bits in the film; I wish there had been more of it.)

Another curious thing about the film is that it includes brief three song-and-dance production numbers... you know, the sort of thing you see in musicals. In a silent movie. They're fun to watch, but their presence still baffles me.

In the final analysis, this film is a bit of weirdness that I can think of three reasons you might want to check it out. First, if you're interested in early silent movies, you'll enjoy the artistry that went into making the sets, the costumes, and the special effects. Secondly, if you're a fan of the Wizard of Oz--especially the well-known 1939 film starring Judy Garland, you should see this movie, because it obviously served as a major inspiration for the costume designers 25+ years later. (The Scarecrow, the Cowardly Lion, and especially the Tin Man, all strongly resemble their counterparts in the more famous effort.) It's also fun, because of the differences that exist between it and the 1939 film... I especially liked the flying lizardmen that this film has. Finally, any lover of classic cinema needs to watch it, because it's the first starring role for Bebe Daniels, an actress who is little known today but who was a veritable superstar in the 1920s. She starred in this film at the age of 9, and it's a testimony to her talent that she first transitioned from child actor to adult roles, and then successfully made the leap to sound films in the late 1920s. Given that her overcame the obstacle that kill film careers to this very day--moving from child to adult actor in films--and her star continued to ascend through the 1930s (at which point she transitioned again to a career in radio plays), it's a shame that the passage of time has obscured her reputation. (I will make a point of seeking out more of her films to review in this space.)

Meanwhile, you can watch "The Wonderful Wizard of Oz" right here, on this blog, via this embedded YouTube video.