Celebrating the life and career of JUDY GARLAND since 1999

Release Date: November 17, 1993

This fantastic boxed set truly was the ultimate and definitive collector’s edition of The Wizard of Oz when it was released by MGM/UA Home Video and Turner Entertainment on November 17, 1993.  The film was presented in the most high-tech high-quality version yet possible with a newly restored print presented in the digital CAV format.  At the time that was the best format for watching any film on home media.  

“The Ultimate Oz” immediately became the standard by which all subsequent laserdisc special editions were measured.  After this set was released, companies (most notably Disney) began dipping into their vaults and releasing similar sets.  In their guide to home video, “Entertainment Weekly” proclaimed “The Ultimate Oz” to be the best laserdisc ever produced.  And this was several years after “The Ultimate Oz” was released.

These accolades were completely deserved.  This set has everything!  A beautifully restored print of the film accompanied by a seemingly endless array of extras.  This was Ali Baba’s Cave Of Wonders for Oz and Garland fans alike. For the first time, fans were able to see and/or hear such rarities as Tornado Test Footage; Deleted Scenes; Judy Garland’s deleted “Over The Rainbow” reprise; Footage from the Los Angeles and New York premieres; Aljean Harmetz’s 1979 interviews with Margaret Hamilton, Ray Bolger, and Jack Haley; Clips from two silent versions of Oz; A clip from the rare 1933 cartoon short version; A portrait gallery; Sketches & storyboards; Costume & make-up tests; All of the existing trailers; AND MORE!

The big bonus here, aside from the remastered film itself, was the premiere release of the existing prerecording sessions.  What a revelation!  For the first time, fans got to hear the lengthy process of prerecording the songs and score for the film, and the time and care that MGM took to get everything just perfect.  It’s an incredible document of a place and time long gone.  We’re lucky so much has survived.  Unfortunately, not all of the pre-recordings have survived in stereo so a complete stereo soundtrack to the film has not been possible.  That didn’t stop Warner Bros. from creating a stereo soundtrack for the film’s November 1998 60th-anniversary theatrical re-release in theaters (the anniversary was 1999 but Warner Bros. got a head start).  For the sections where no stereo mix was possible, the sound was enhanced.  That was the first release of the film after Warner Bros. purchased the MGM catalog from Turner Entertainment.  All subsequent releases of the film on home media have featured that soundtrack, with the original mono track as an alternate audio option.

Included in the set were five 8×10 stills, advertised as “rare” although they weren’t.  A reproduction of the Continuity Script, plus an order form to get an official 24″x36″ poster stamped with an “MGM Seal of Authenticity” (it’s actually very cool).  

The main 2 discs are in the CAV format and include the following:

The newly restored film.

Audio commentary on the Analog Left audio track.

Music Recording Chapters (prerecording sessions) on the Analog Right audio track.

The single disc in the CLV format featured the following:

The Wonderful Wizard: The Making of a Movie Classic documentary hosted by Angela Lansbury (originally aired on broadcast TV in 1988).

The Ultimate Oz Collector’s Supplement:

Part One  (Side One) (each title is a separate chapter)
1949 Reissue Trailer
“Adult” 1949 Reissue Trailer
Excerpts from Off To See the Wizard (1967)
What is Oz?

Part Two (Side Two) (each title is a separate chapter)
Collector’s Supplement
Pre-M-G-M
His Majesty, The Scarecrow of Oz – film clip
The Wizard of Oz (1925) – film clip
The Wizard of Oz – cartoon clip
Sketches and storyboards
Costume and make-up tests – Part One
Texas Promotional Trailer
The Thorpe stills
In the cornfield
Loew’s Cairo theater trailer
Costume and Make-up tests – Part Two
OZ Comes to Life – Part One
OZ Comes to Life – Part Two
OZ Comes to Life – Part Three
OZ Comes to Life – Part Four
Behind the Scenes
Harold Arlen’s home movies
The Portrait Gallery
Special effects
“It’s A Twister! It’s a Twister!”
Post-Production
Deleted scenes
The Triumphal Return – deleted sequence
Over the Rainbow – deleted sequence
The Jitterbug – deleted musical number
Original publicity
The Grauman’s Premiere
The New York Premiere
Oscar Night
Cavalcade of the Academy Awards
1979 Interviews*
OZ Abroad
Revivals
The Shooting Script

Notes for the Supplementary Section:

The clips from the earlier OZ films, as well as the Arlen home movies, may not still frame properly due to their non-standard frame rates.

Audio for Aljean Harmeatz’s interviews in chapter 32 is assigned as follows:
Digital Left and Right:  Margaret Hamilton
Analog Left:  Ray Bolger
Analog Right:  Jack Haley

At the beginning of this side, on Analog Left, is an audio only interview with George Bassman, one of the orchestrators and background musical score composers for THE WIZARD OF OZ, conducted by author Ajean Harmetz.  Following is an interview with Jack Young, Margaret Hamilton’s make-up man.  Mr. Young offers insight into the creation of the fabulous make-up used in the film, as well as his personal recollections.  Mrs. Harmetz’s interview with Mr. Young continues on Analog Right, at the beginning of the side.  To continue listening to the interview, please search chapter one and select Analog Right on your player’s remote control.  As this side of the program is encoded with picture stops, the player will go into the still mode several times during the course of the interview.  Simply press play on your player’s remote control to continue listening.

The packaging for both the main two-disc set in the CAV format (in gatefold packaging), the cover and back cover of the supplementary disc in the CLV format, the cover art for the viewer’s guide insert, and the cover of the printed Continuity Script.

In spite of all of the many previously-unreleased treasures included in the set, the biggest feature was the premiere release of the surviving pre-recording sessions.  There are outtakes, alternate takes, and extended versions of all of the songs and music underscoring.  Even the prerecordings of the Munchkin voices at normal speed!  By far this set really was “The Ultimate Oz”.

The following listing includes the separate “Music Recording Session Notes” which gave additional details about many of the prerecordings.

From the guide:

Join us behind the scenes as THE ULTIMATE OZ takes you inside MGM’s famous “State 1” to be a part of one of the major elements that made this film the masterpiece that it is – the music.

What you will hear are the surviving, unedited musical numbers, various “looping” tracks, and the music recorded for underscoring.  These tracks were originally recorded to 35mm nitrate variable density optical film soundtrack. 

Many of these recordings were made from different microphones that were placed throughout the stage.  From these separate recording angles, a composite track was mixed for final use.  Many of these multi-angle recordings survive among the scoring session tracks, and we have mixed one to create a “Stereophonic” effect: Ray Bolger’s If I Only Had a Brain (which is presented in its complete form as supplementary material on the end of side four of the feature disc).  Unfortunately, too many of the original multi-channel recordings are no longer in existence, thereby precluding the creation of a new “Stereophonic” soundtrack for the entire feature.

In the Fall of 1938, prerecording sessions began under the direction of famed MGM conductor Herbert Stothart and his associate Georgie Stoll.  You will hear both of them giving direction to the orchestra over the p.a. system.  The first compositions to be recorded were the songs for the film.  The common practice in making musicals at the time was to re-record the songs, then have the actors lip-sync to a playback recording during filming.  This enabled full control of the music in terms of recording and arrangement.  It also allowed for full cinematic freedom when it came time to shoot the musical numbers.  All of the recordings featured here were assigned an identifying scene number: the “2000” and “2100” series for songs and the “2500” series for underscoring.  Most of the final recordings used in the film were actually edited together using part s of several different takes.

Musical Adapatation by HERBERT STOTHART
Lyrics by E.Y. HARBURG
Music by HAROLD ARLEN
Associate Conductor: GEORGE STOLL
Orchestral and Vocal Arrangements: 
LEO ARNAUD • GEORGE BASSMAN • MURRAY CUTTER • PAUL MARQUARDT • KEN DARBY • CONRAD SALINGER (uncredited) • ROBERT STRINGER (uncredited)

Over The Rainbow
Judy Garland
Recorded 10/7/38
Arranged by Murray Cutter. The version heard in the film was edited together by taking the first verse of Take 5 and joining it to the bulk of Take 6.
Scene #2019

Munchkinland – Part One
Rehearsal with Harold Arlen & E.Y. “Yip” Harburg
Munchkin Musical Sequence – Arranged by Leo Arnaud. Munchkinland is the longest and most complex musical sequence in the film. We present the songs as they were recorded. As you will hear, most of the munchkin vocal parts are missing. This is because the voices of the munchkins were recorded separately from the music and the separate tracks were mixed together later. At the end of the music section, we will present the actual munchkin loops recorded by Ken Darby on a special optical film recorder developed by Douglas Shearer, head of the MGM sound department. Also note that the order in which the parts are presented is not the final order in which they appear on film, but rather as the parts were originally sequenced when orchestrated.
Take 2 – This recording features composer Harold Arlen and lyricist “Yip” Harburg enacting all of the singing and speaking parts for this sequence. This was a rehearsal track made for choreographer Bobby Connolly.
Scene #2033

Munchkinland – Part Two
Rehearsal with Harold Arlen & E.Y. “Yip” Harburg
Take 1 – Harburg and Arlen continue with their rendition of Ding Dong The Witch Is Dead.
Scene #2034

Munchkinland – Piano tempo track for Herbert Stothart
Take 1 – Piano rehearsal track for Herbert Stothart of the entire Munchkinland musical sequence.
Scene #2056

Munchkin Musical Sequence – Part One
Takes 10-14 – “Come out, come out, wherever you are…” Billie Burke did fourteen takes of the opening song for this sequence. For Protection, MGM engaged singer Lorainne Bridges to also record Glinda’s song. These tracks no longer exist and rest assured that the takes included in the finished film are none other than Billie Burke’s.
Scene #2057

Munchkin Musical Sequence – Part Two
Takes 18-22 – Always the professional, especially when behind a microphone, Judy Garland endured 22 takes of this section.
Scene #2058

Munchkin Musical Sequence – Part Three
Scene #2059

Munchkin Musical Sequence – Part Four
Takes 3-6 – Munchkin voices recorded live by vocalists. The daily music report only states “two midgets and orchestra.”
Scene #2064

Munchkin Musical Sequence – Part Four
Orchestra Only
Scene #2065

Munchkin Musical Sequence – Part Five
Takes 15 & 16 – “Let the joyous news be spread” – first version of Ding Dong The Witch Is Dead. Note the unused middle section ending with the mayor and town fathers’ speeches.
Scene #2066

Munchkin Musical Sequence – Part Six
Take 1 & 2 – Alternate version of mayor and town fathers’ speeches going into the coroner’s speech.
Scene #2069

Munchkin Musical Sequence – Part Seven
Scene #2073

Munchkin Musical Sequence – Part Eight
Take 3 – The Lollypop Guild. These tracks were recorded live with voices, but the vocal tracks were later redubbed by Ken Darby.
Scene #2070

Munchkin Musical Sequence – Part Eight
Orchestra Only
Scene #2071

Munchkin Musical Sequence – Part Nine
Scene #2072

Ding Dong – Insert #1
Scene #2509

Ding Dong – Insert #2
Scene #2510

Munchkin Voices
Vocal Loops for the Munchkin Voices – Here we present several of the tracks recorded by Ken Darby for this sequence. Darby had the singers sing slowly and distinctly, in an adjusted key. These tracks were recorded at a slower speed than normal but played back at the normal speed of 90 feet per minute. This process was used to make the voices sound like the munchkins. As an added feature, at the end of this section are several of these tracks, played back at the same speed at which they were recorded, thus giving the listener the opportunity to hear exactly how these parts were sung. You may notice a certain familiarity in Pinto Colveg’s voice. For many years he was none other than the voice of Walt Disney’s Goofy.
Unused track intended to replace the voices featured in Part Four. Harry Stanton and Virgil Johansen are the voices.
Scene #2079

Munchkin Voices
Take 3 – Recorded at 55 feet per minute – unused mayor, town father’s, and coroner’s voice tracks. Note that here the parts are sung, whereas in the final film they are almost spoken. The vocalists are Billy Bletcher, J.D. Jewkes, and Pinto Colvig. There is a note in the music records that states “Mr. Shearer liken coroner voices in these last two takes.”
Scene #2082

Munchkin Voices
Take 1 – The final recitative version used in the film, except for the coroner’s lines, the notes say “Stoll likes.”
Scene #2085

Munchkin Voices
Take 1 – Only the coroner’s final tracks came from this take. Harry Stanton sings the coroner part.
Scene #2086

Munchkin Voices – At Record Speed
Take 1 – Slowed to the record speed of 55 feet per minute.
Scenes #2085 & 2086

Munchkin Voices – At Record Speed
Scene #2086

Munchkin Voices
Lullaby League Trio – Carol Tevis, Lorainne Bridges, and Betty Rome.
Lollypop Guild Trio – Billy Bletcher, Pinto ColvIg, and Harry Stanton.
Take 7 – Lullaby League (unused), Lollypop Guild (was used). The notes state “Best for men – Mr. Shearer liked.”
Scene #2088

Munchkin Voices
Take 6 – Munchkin quartet chorus comprised of Bletcher, Colvig, Stanton, and Jewkes.
Scene #2089

Munchkin Voices
Take 1 – Final Lullaby League note says “Stoll likes.”
Scene #2093

Munchkin Voices – At Record Speed
Take 1 – Slowed to the record speed of 65 feet per minute.
Scene #2093

Follow The Yellow Brick Road
Piano Tempo Track
Take 3 – Notes state: “Piano and violin (Stoll) temp track of Follow the Yellow Brick Road.”
Scene #2095

Munchkin Voices
Take 1 – Notes state: “Dialogue recorded at 65 feet per minute. Carol Tevis – “Follow the yellow brick road!” Stoll does the same thing. Then Pinto doing – “which old witch?”
Scene #2106

Munchkin Vocals
Take 5 – Vocal dubs for Munchkin Musical Sequence Part Three.
Scene #2130

Munchkin Vocals
Take 3 – Munchkin Chorus dubs for Ding Dong the Witch is Dead.
Scene #2132

Munchkin Vocals
At Record Speed
Take 3 – Slowed to the record speed of 65 feet per minute.
Scene #2132

Munchkin Vocal
Take 1 – Alternate Munchkin chorus dubs for Follow the Yellow Brick Road
Scene #2135

Munchkin Vocal
At Record Speed
Take 1 – Slowed to record speed
Scene #2135

If I Only Had A Brain
Original Dance
Bolger & Garland. Arranged by Cutter.
Takes 6-8 – Unused original dance music.
Scene #2012

If I Only Had A Brain
Stop Time Chorus
Takes 7 & 8 – Unused alternate “stop time” dance music.
Scene #2017

If I Only Had A Brain
Vocal
Takes 3-5 – Song – Bolger’s final vocal came from Take 5.
Scene #2124

If I Only Had A Brain
Alternate Lyric
Take 3 – Song with alternate end lyric. Garland’s final solo came from this take.
Scene #2125

If I Only Had A Brain
Alternate Lyric
Takes 6 & 7 – Unused end verse (to go at the end of the deleted dance sequence).
Scene #2126

If I Only Had A Brain
Dance (piano)
Take 3 – Alternate dance tempo track.
Scene #2127

If I Only Had A Brain
Song (Orchestra)
Post-scoring. Note that this is one of the few songs that was pre-recorded without the full orchestra. The orchestra was added during the sessions of Spring, 1939.
Scene #2501

If I Only Had A Brain
Dance (Orchestra) – Part One
Scene #2502

If I Only Had A Brain
Dance (Orchestra) – Part Two
Scene #2503

If I Only Had A Brain
New End #2
Scene #2575

If I Only Had A Brain
New End #1 [Judy Room note: Judging from the sequence of the Scene Numbers, this could be a typ0 and could actually be #2, while #2 listed above could actually be #1]
Scene #2576

If I Only Had A Brain
New End #3
Scene #2583

We’re Off To See The Wizard
Alternate Lyric
Garland and Bolger – Arranged by Cutter.
Takes 1-4 – Unused original version.
Scene #2005

We’re Off To See The Wizard
Alternate Ending
Takes 5-7 – Same lyric as above but with a different musical ending.
Scene #2006

We’re Off To See The Wizard
Final
Scene #2025

If I Only Had A Heart
Buddy Ebsen
Arranged by Cutter.
Takes 7-9 – Buddy Ebsen’s original recordings. Adriana Caselotti, better known as the voice of Walt Disney’s Snow White, was paid $100 for one day’s work as the voice of Juliet.
Scene #2011

If I Only Had A Heart
Dance (Orchestra)
Takes 1-3 – Dance music. Note that in the finished film, the mid-section was deleted. Perfectionists are not easily pleased, as clearly shown by Mr. Stoll’s declaration of “That stinks!” after Take 1.
Scene #2013

If I Only Had A Heart
End Tag
Scene #2553

If I Only Had A Heart
Jack Haley
Takes 21 & 22 – Jack Haley’s rendition of If I Only Had A Heart, minus Adriana Caselotti’s solo. This was edited in later from the earlier Ebsen session.
Scene #2031

We’re Off To See The Wizard
Alternate Lyric
Garland, Bolger and Ebsen. Arranged by Cutter. These group sessions were not re-recorded when Ebsen dropped out of the film.
Takes 7-10 – Unused original version with intentional false starts.
Scene #2007

We’re Off To See The Wizard
Alternate Version
Scene #2008

We’re Off To See The Wizard
Final
Scene #2026

If I Only Had The Nerve
Alternate Lyric
Lahr, Bolger, Ebsen and Garland. Arranged by Cutter.
Takes 11-14 – Alternate first verse lyric.
Scene #2003

If I Only Had The Nerve
Final
Scene #2004

We’re Off To See The Wizard
Alternate Lyric
Bolger, Ebsen, Garland and Lahr. Arranged by Cutter.
Scene #2009

We’re Off To See The Wizard
Final
Takes 1-7 – Ebsen’s solo parts were later redubbed by Jack Haley for the final track.
Scene #2027

The Merry Old Land Of Oz
Piano Tempo
Bolger, Garland, Haley, Lahr and Morgan. Arranged by Cutter. This number was another instance of MGM recording the vocals separately to a piano track for filming, then adding the full orchestra in the post-scoring sessions. The various men’s and women’s voices are: Tyler Brook, Ralph Sudam, Bobby Watson, Oliver Smith, Charles Irwin, Lois January, Elivda Rizzo, and Lorraine Bridges.
Take 4 – The note says “Tempo track…played by four hands on piano. Becker on top, Arlen on bottom.”
Scene #2108

The Merry Old Land Of Oz
Playback Recording Alternate Version
This is not the final version heard in the film.
Scene #2422

The Merry Old Land Of Oz
Orchestra Track
Scene #2558

The Merry Old Land Of Oz
Orchestra Track
Scene #2559

If I Were King Of The Forest
Part One
Lahr, Bolger, Ebsen and Garland. Arranged by Cutter. This is the complete longer version of this song. In the finished film, Parts 3 and 5 were deleted.
Scene #2020

If I Were King Of The Forest
Part Two
Tale 8 – The ending musical phrase on this is different from that in the film, as the following section was deleted.
Scene #2021

If I Were King Of The Forest
Part Three
Takes 10-14 – Deleted section.
Scene #2023

If I Were King Of The Forest
Part Four
Scene #2022

If I Were King Of The Forest
Part Five – Vocal
Takes 2-5 – The solo high note was sung by soprano Georgia Stark.
Scene #2024

If I Were King Of The Forest
Part Five – Orchestra Only
Scene #2028

If I Were King Of The Forest
Recitative
Take 5 – Orchestra for the recitative finale.
Scene #2557

The Jitterbug
Rehearsal Recording
Garland, Bolger, Ebsen and Lahr. Arranged by Conrad Salinger. Jack Haley did “looping” to replace Buddy Ebsen’s singing solo parts.
Take 1 – Rehearsal with piano. Donna Massin, Bobby Connolly’s assistant, stands in for Judy Garland.
Scene #2001

The Jitterbug – Part One
Scene #2014

The Jitterbug – Part One
Orchestra Only
Scene #2014

The Jitterbug – Part Two
Scene #2015

The Jitterbug – Part Three
Scene #2016

Over The Rainbow
Deleted Reprise
Take 3 – This is the deleted reprise sung by Dorothy while she is a captive of the Wicked Witch of the West. The recording was done live on the set to a piano accompaniment, with the orchestra to be added later. The record date of this track is October 17, 1938, thus placing it during Director Richard Thorpe’s reign. The Victor Fleming re-do does not survive, so the underscoring for this scene does not match this live performance.
Scene #2029

Ding Dong The Witch Is Dead
Emerald City Reprise – Take 1 – One version of the deleted song sequence.
Scene #2123

Emerald City
Reprise – 2 Versions
Take 6 – A full orchestral counterpoint version.
Scene #2560

Hail The Witch Is Dead
Winkie Voice Test
The notes state “Ken Darby singing Hail Hail the Witch is Dead.” The record speed was 115 feet per minute.
Scene #2143

The Underscoring – The background music for The Wizard of Oz won the Academy Award for best original score (1939). The composers of this underscoring used Arlen’s song melodies to create a seamless continual flow of music that lasts almost the entire length of the film. Although many of the scenes in the finished film do not have underscoring, music had actually been created for some, and you will hear that music here for the first time. We have highlighted cues that have something unique or anecdotal about them as compared with the final versions heard in the film.

Main Title
Alternate Version
Composed by Herbert Stothart and orchestrated by Cutter.
Take 7 – An alternate take of the main title without the choir.
Scene #2525

Main Title
Revised Ending
Takes 1-3 – The revised ending for the main title.
Scene #2586

Trouble In School
Composed by Stothart and George Bassman and orchestrated by Bassman.
Take 2 – The last portion of this was deleted, along with the accompanying dialogue.
Scene #2563

Farmyard
Wild Track (unused)
Takes 1 & Scene #2 – Unused wild track for the farmyard. The notes state “last part Trouble in School.”
Scene #2564

Introduction to Rainbow
Scene #2513

Miss Gulch
Composed and orchestrated by Cutter.
Take 2 – The original intention here was to have the underscoring continue through the parlor scene, but it was dropped in the final editing.
Scene #2514

Leaving Home
Scene #2564

Crystal Gazing
Composed by Stothart and orchestrated by Bassman.
Take 3 – Note the strains of Merry Old Land of Oz foreshadowing Professor Marvel’s reincarnation in Oz.
Scene #2515

Cyclone
Composed by “Stothart et al” and orchestrated by Bassman.
Take 7 – Perhaps the most complex underscoring in the film, it was also recorded by an orchestra twice the normal size. This is the “far mike” pick-up channel, and it is the only one that survives. Longer here than in the finished film, this music was to have scored an extended scene.
Scene #2526

Munchkinland
Composed by Stothart and orchestrated by Bassman.
Scene #2505

Munchkinland
With Voices
Scene #2505

Munchkinland
Insert
Take 10 – Insert for Glinda’s arrival.
Scene #2578

I’m Not A Witch
Unused
Composed by Stothart and orchestrated by Cutter.
Takes 3 & 4 – The original concept for this piece was much darker.
Scene #2506

I’m Not A Witch
Revised
Take 2 – The much lighter, revised version of this cue.
Scene #2579

Threatening Witch
Part One
Composed by Stothart and orchestrated by Cutter.
Takes 1-3
Scene #2507

Threatening Witch – New
Take 6 – A new ending for the above cue.
Scene #2587

Threatening Witch
Part Two
Take 2 – One of the casualties of the final editing was some of the Wicked With of the West’s dialogue. In previews, her character was found to be too terrifying for children, so several of her most menacing lines were removed. Therefore, you will hear in several of the”witch’s scenes” unfamiliar bits of music.
Scene #2508

Leaving Munchkinland
Scene #2580

Good Fairy Vanishes – Segue
Follow The Yellow Brick Road
Composed by Harold Arlen and Stothart and orchestrated by Cutter.
Scene #2511

The Cornfield
Composed by Stothart, Bassman, and George Stoll and orchestrated by Bassman.
Scene #2504

Scarecrow to Visit Wizard
Unused
Composed by Stothart, Bassman, and Stoll and orchestrated by Bassman.
Takes 1-4 – Unused scoring for the cornfield scene, immediately preceding We’re Off to See The Wizard.
Scene #2554

The Apple Orchard
Composed by Stothart, Bassman, and Stoll and orchestrated by Bassman.
Take 6 – Longer than in the final film due to the deletion of some of the fight with the apple trees.
Scene #2551

Introduction To Tin Man
Composed by Stothart.
Scene #2552

Tag To Tin Man
Scene #2553

Witch On Roof
Scene #2555

Woodman’s Lament (Beehive) – Part One
Composed by Stothart and orchestrated by Cutter.
Takes 1 & 2 – This is the music for the deleted “beehive” scene, in which the Witch’s curse to the Tin Man is realized.
Scene #2538

Woodman’s Lament (Beehive) – Part Two
Take 2 – The first half of this cue was to underscore the dialogue when the Tin Man realizes he has accidentally killed one of the bees. The sad, maudlin strains of If I Only Had a Heart are echoed by the whine of a saw.
Scene #2539

[Into the] Forest Of Wild Beasts
Introduction
Composed by Stothart and orchestrated by Cutter.
Take 4 – “Lions and Tigers and Bears! Oh, my!”
Scene #2540

Lion’s Confession
Unused
Composed by Stothart, Stoll, and Bassman and orchestrated by Bassman.
Takes 2 & 3 – Deleted underscoring for the scene in which the Cowardly Lion explains his fate to Dorothy & Co.
Scene #2565

Poppies
Orchestra Only
Composed by Robert Stringer and orchestrated by Cutter.
Scene #2527

Poppies
Orchestra With Chorus
Scene #2528

The Spell
Composed by Stringer and orchestrated by Cutter.
Take 5 – This is another cue that offers previously unheard sections. The feverous strings during the midsection were to have scored a scene between the Witch and Nikko, her faithful companion. Seeing that her plan is working, she sends Nikko to fetch the golden wishing cap. The cap is used to call for the Winged Monkeys, whom the Witch will send to the poppy field to claim the ruby slippers. Glinda interferes with the plan though, and in a later scene, the Witch tosses away the cap in utter frustration.
Scene #2530 

Optimistic Voices
Rehearsal
Composed by Arlen, Harburg, and Stothart.
Arlen, Roger Edens, and Harburg at the piano again for a rehearsal recording.
Scene #2055

Optimistic Voices
Alternate Chorus
Take 3 – The music and background chorus vocals from this take were used in the final film, but the chorus voices were later changed. We also present the same take without the lead chorus.
Scene #2529

Optimistic Voices
Orchestra
Scene #2529A

Sign On The Gate – Part One
Unused
Composed by Stothart and orchestrated by Paul Marquardt.
Takes 1-4 – Unused underscoring.
Scene #2541

Sign On The Gate – Part Two
Scene #2542

Change Of The Guard
Unused
Composed by Stothart and Bassman and orchestrated by Bassman.
Takes 1 & 2 – Unused due to scene being deleted.
Scene #2548

Wizard’s Exit
Scene #2549

At The Gates Of The Emerald City
Composed by Stothart and orchestrated by Stringer.
Take 3 – Much longer than in the final film. Please refer to your continuity script for the deleted sections. [Judy Room note: A deluxe copy of the continuity script came with this boxed set.]
Scene #2543

Magic Smoke Chords
Scene #2544

Terrified Lion
Scene #2545

The Haunted Forest
Composed by Stothart, Stoll, and Bassman and orchestrated by Bassman.
Take 5 – The light mid-portion of this cue refers to a bit of trickery deleted from the final print. The “Witch Remover” the Lion carries mysteriously vanishes when the Scarecrow tosses it to the ground. The end of this piece was to have lead into the Jitterbug sequence, also deleted from the film.
Scene #2533

Jitterbugs Attack (Flight Of Winged Monkeys)
Composed by Stothart and orchestrated by Marquardt.
Take 2 – Slightly longer than in the finished film.
Scene #2534

Witch’s Castle
Composed by Stothart and orchestrated by Marquardt and Cutter.
Take 2 – The editing of this sequence of the film was different when the film was scored.
Scene #2535

Witch’s Castle
Insert
Scene #2577

Toto Brings News
Composed by Stothart and orchestrated by Stringer.
Take 7 – This cue contains the underscoring for the deleted reprise of Over the Rainbow.
Scene #2536

March Of The Winkies
Composed by Stothart and orchestrated by Cutter.
Take 9 – Without the Winkie vocals.
Scene #2532

Dorothy’s Rescue
Composed by Stothart, incorporating Moussorgsky, and orchestrated by Marquardt.
Take 6 – The original recording of this cue contains even more Night On Bald Mountain than does the finished film.
Scene #2531

On The Castle Wall
Scene #2537

Wizard’s Expose/Graduation Exercises
Composed by Bassman, Stothart, and Stoll and orchestrated by Bassman.
Take 1 – This cue contains music that was to cover the deleted scenes of the Wizard trying to distract Dorothy & co.
Scene #2566

Fill In Awards
Scene #2581

Floating Thru Space/Balloon Ascension
Scene #2546

Second Cheer
Scene #2547

I Hereby Decree
Scene #2556

Glinda’s Final Appearance
Revised
Scene #2582

Finale
Composed by Stothart and orchestrated by Cutter.
Scene #2561

Alternate End Cast Music
Deleted from Dorothy’s return was an extended flashback montage.
Scene #2567

Gallery of previous and subsequent VHS and laserdisc editions, up to the 1997 laserdisc edition which was released in conjunction with the premiere release of the film on DVD (also in 1997) by MGM/UA.  That was the last time the film was released on home video by MGM.

CREDITS:

Produced by: Allan Fisch

Executive Producer: George Feltenstein

Audio Commentary and Supplemental Materials Written by: John Fricke

Production Consultant: Scott Benson

Art and Photo Research: Maggie Adams

Graphic Design and Editorial: Bob Hardenbrook, Lynelle Kerstine, Sam McCay and Tim Spika

Film Restoration Supervised by: Richard P. Maya

Audio Restoration Supervised by: Scott Perry

Supervision for THX Laser Disc Program: Dave Schnuelle

Audio Post-Production: Ted Hall, Pacific Ocean Post

Film-to-Tape Colorist: Robert Sackter – VDI

Supplement Video Post-Production: Modern Videofilm

The producers wish to extend special thanks to the following for making THE ULTIMATE OZ a reality: The Academy of Motion Picture Arts and Sciences, Woolsey Richard Ackerman, Rita Arlen, Willard Carroll, Steve Chamberlain, James Kotsilibas-Davis, Bennett Fidlow, Brad Flanagan, Matt Freidman, Susan Griffin, Jack Haley, Jr., Willy Hall, Aljean Harmetz, Ross Herrin, The Image Bank, The International Wizard of Oz Club, Inc., Craig Johnson, Phil Kent, Allen Lawson, Yvette Lee, Robb McCaffree, Patrick V. Miller, Cathy Manolis, Roger Mayer, Ron Miele, The University of Southern California, Tom Toth, Mary Beth Verhunce and Sue Dwiggins Worsley