Dark Secrets About The Wizard of Oz
The Wizard of Oz, first released in 1939, is one of the most groundbreaking films of all time. Unlike many of its contemporaries, it's stood the test of time and has resonated with audiences for more than eighty years.
However, production of the ambitious film was not without its fair share of mishaps, mistakes, and straight-up dark secrets. Let's delve into some of the behind-the-scenes stories.
Ruby red was a last-minute tweak
In L. Frank Baum's original novel, Dorothy’s famous slippers were silver rather than ruby red. During production of The Wizard of Oz, however, executives at MGM became fascinated with the possibilities offered by Technicolor, which was still a relatively new filmmaking process at the time. They wanted certain elements of the movie to stand out as vividly as possible on screen.
Because of that, the slippers were redesigned in a bright red shade to create a stronger visual effect. Screenwriter Noel Langley reportedly pushed for the change, believing red would pop more dramatically against the yellow brick road. The decision ultimately helped create one of the most recognizable costume pieces in movie history, even though it differed from the original source material.
Technicolor changed things
Dorothy's famous gingham dress from The Wizard of Oz is widely remembered as blue and white, but the actual costume used during filming was made with light blue and pink fabric. The alteration was made because those softer shades appeared more natural and visually balanced when filmed using Technicolor, which was still a developing technology during the late 1930s.
At the time, filmmakers had to carefully select colors that would translate properly on screen, since certain shades could appear distorted or overly harsh under studio lighting. The pink tones in Dorothy’s dress helped achieve the clean, bright look audiences associate with the movie today. Although viewers have long perceived the outfit as blue and white, the costume itself was designed specifically to work within the technical limitations and strengths of Technicolor filmmaking.
Judy Garland was very young during production
Judy Garland was just 16 years old when filming began on The Wizard of Oz. Years later, she spoke openly about the intense pressures placed on young performers in the Hollywood studio system. Garland claimed that MGM executives and studio doctors supplied performers with stimulants to maintain energy during long workdays and sleeping pills to help them rest afterward.
According to Garland, the demanding pace of filmmaking made exhaustion common, especially for actors expected to work long hours under strict studio control. Her experiences later became part of a broader conversation about how young stars were treated during Hollywood's Golden Age.
It was very hard on the young Garland
Throughout her life, Judy Garland dealt with serious struggles involving body image and disordered eating, problems that reportedly began during her years at MGM. According to accounts from people close to the production, studio executives harshly criticized her appearance, with some allegedly referring to the young actress as "a fat little pig with pigtails." While filming The Wizard of Oz, Garland was reportedly kept on an extremely restrictive routine that included chicken soup, black coffee, cigarettes, and diet pills in an effort to maintain a thin appearance on camera.
In his memoir Judy and I: My Life with Judy Garland, Garland's former husband Sid Luft wrote that she spent much of her teenage and adult years relying on Benzedrine, dieting, or both. He also noted that Garland’s petite frame made studio executives especially focused on her weight, believing even small changes appeared exaggerated on screen during musical performances and dance numbers.
The Wicked Witch was badly burned
Margaret Hamilton suffered serious injuries while filming The Wizard of Oz after a special effects stunt malfunctioned. During a scene in Munchkinland, the Wicked Witch was meant to disappear through a trapdoor surrounded by flames. However, the timing went wrong when the trapdoor failed to open properly, leaving Hamilton exposed to the fire longer than intended.
The accident caused second-degree burns to her face and third-degree burns to one of her hands, forcing her to spend about six weeks recovering before she could return to the set. Despite the painful experience, Hamilton eventually resumed filming, though she reportedly insisted on one important condition. Reflecting on the dangers of the stunt, she later remarked that she understood how Hollywood operated and feared she might never work again if she refused, but demanded there be "no more fireworks" during her remaining scenes.
Burns weren't the only issue
The green makeup worn by Margaret Hamilton during The Wizard of Oz created additional health concerns beyond the injuries she suffered from the film's special effects. According to members of the production team, the makeup contained copper oxide, making it potentially toxic if accidentally ingested. Because of that, Hamilton reportedly had to follow a strict liquid diet while wearing the Witch’s makeup to avoid contaminating food with the paint.
One of the film’s makeup artists, Jack Young, later confirmed the dangers associated with the cosmetic formula. He explained that removing the makeup carefully each night was essential, emphasizing that no traces could be left behind. Young also noted that extra caution was necessary because Hamilton was still recovering from the burns she had suffered during the earlier on-set fire accident.
Explosions were a semi-regular mishap
Betty Danko endured a frightening accident while working as the Wicked Witch's stunt double during the filming of The Wizard of Oz. In one sequence, smoke was supposed to rise from the Witch’s broomstick while she flew through the air. To create the effect, filmmakers attached a pipe to the broomstick’s saddle, but the device malfunctioned and exploded during a rehearsal.
Danko later described the blast as incredibly violent, saying it felt as though her scalp were being torn away as she was thrown from the broomstick. She suffered several injuries, including a deep wound to her leg that became filled with fragments of her costume after the explosion. The accident was serious enough to send her to the hospital for 11 days while she recovered. The incident further underscored the dangerous conditions performers sometimes faced while making the film’s elaborate special effects scenes.
The Tin Man's makeup was toxic
Buddy Ebsen was originally chosen to play the Tin Man in The Wizard of Oz, but the role quickly turned into a medical nightmare. The silver makeup used for the character contained aluminum dust, which reportedly caused a severe reaction after filming had barely begun. Just nine days into production, Ebsen became seriously ill and was hospitalized, eventually losing the role to Jack Haley.
Years later, Ebsen claimed the experience left him with lifelong breathing problems. Reports from the time described him waking up in extreme pain, suffering violent muscle cramps and difficulty breathing before being rushed to the hospital. He reportedly spent two weeks inside an oxygen tent recovering after inhaling large amounts of aluminum particles. Following the incident, the makeup department abandoned the powdered formula and switched to a safer aluminum paste for the remainder of filming.
The Cowardly Lion's suit was made with real lion
Bert Lahr wore a highly uncomfortable costume while playing the Cowardly Lion in The Wizard of Oz. The suit was reportedly made using real lion skin and fur and weighed around 90 pounds. Its bulk and insulation made filming physically demanding, and Lahr often struggled with the intense heat generated under studio lighting. Because of the extreme discomfort, he frequently had to remove the costume entirely after each shot in order to cool down before continuing production.
Despite its difficult conditions, the costume later became a famous piece of Hollywood history. In 2014, it was sold at auction for more than three million dollars, reflecting its cultural significance as one of the most recognizable outfits from the film.
Scarecrow's makeup was a disaster as well
Ray Bolger, who portrayed the Scarecrow in The Wizard of Oz, experienced physical discomfort from the makeup and prosthetics used to create his character's signature look. The facial appliances required to achieve the Scarecrow’s stretched and textured appearance included tight-fitting materials around his mouth and chin.
Over time, the constant application and removal of these prosthetics reportedly caused irritation, leaving behind burlap-like marks and soreness on his skin. Despite the discomfort, Bolger continued performing the physically demanding role, which involved extensive dancing and expressive movement.
Even Toto got injured
During the filming of The Wizard of Oz, an on-set accident occurred involving Terry, who portrayed Dorothy's beloved dog. At one point, an actor playing one of the Wicked Witch’s guards accidentally stepped on the small canine during a crowded scene. The incident was unintentional, but it resulted in Terry injuring her foot and developing a sprain that required immediate attention.
Because of the injury, the production temporarily brought in a canine double so filming could continue without delay. Despite the setback, Terry recovered faster than expected and was able to return to the set only a few weeks later. Her quick recovery allowed her to resume her role in several remaining scenes, maintaining continuity in one of the film’s most recognizable supporting performances.
Jell-O was used as makeup
Executives at Metro-Goldwyn-Mayer were hesitant to use actual paint when it came to coloring the horses used in the Emerald City scenes in The Wizard of Oz. As a result, the production team experimented with other methods to achieve the vivid green look required for the film. One early attempt involved using food coloring, but it was quickly abandoned because the resulting shades were considered too harsh and not visually refined enough for the screen.
The solution they settled on was Jell-O powder, which produced a more suitable color when applied to the horses' coats. However, this approach came with its own complication, as the animals frequently licked the powder off between takes. Despite that ongoing issue, the effect was considered successful enough for filming to continue, helping create one of the most memorable visual details in the Emerald City sequences.
Garland's pay was modest
Judy Garland, who is now widely regarded as one of the most iconic entertainers of the 20th century, was paid a relatively modest salary for her role in The Wizard of Oz. Reports indicate that she earned about $9,600 for her work on the film, a figure that reflects how differently Hollywood contracts were structured at the time, especially for young studio performers.
When adjusted for inflation, that amount would be roughly equivalent to around $218,000 today. Although the film went on to become one of the most celebrated motion pictures in history, Garland's original compensation was small by modern blockbuster standards, highlighting the vast changes in film industry pay scales over the decades.
Margaret Hamilton was paid better
Margaret Hamilton reportedly earned around $21,000 for her role as the Wicked Witch of the West in The Wizard of Oz, despite having less screen time than many of the film's other principal performers. When adjusted for inflation, that amount is estimated to be roughly $476,000 in today’s dollars, reflecting a surprisingly substantial payment for the period.
Even after suffering serious burns during a stunt accident on set, Hamilton was unable to work for about six weeks while she recovered. According to accounts of the production, she continued to receive her salary during that time, as her contract remained in effect. The situation highlights both the risks involved in the film’s production and the financial arrangements that kept actors on payroll even when injuries temporarily halted their ability to film.
Toto got a payday
Terry, the dog who portrayed Toto in The Wizard of Oz, was reportedly paid about $125 per week for her work on the film. When adjusted for inflation, that weekly pay would be roughly equivalent to around $2,800 today. Despite being a key on-screen presence alongside Dorothy, Terry's compensation reflects the very different standards and pay structures used for animal performers in early Hollywood productions.
One of the Munchkin actors, Margaret Pellegrini, also spoke about her experience on the film and noted that she earned approximately $50 per week for her role. In today’s dollars, that would amount to about $1,100 per week. Her account highlights how supporting performers in The Wizard of Oz, particularly members of the Munchkin cast, were paid relatively modest wages despite the film’s eventual status as a landmark in cinema history.
Munchkin actors needed extra help
Following a behind-the-scenes incident during production of The Wizard of Oz, MGM reportedly decided to assign attendants to help Munchkin actors with restroom needs. The change came after an actor became stuck in a toilet for about 45 minutes, prompting concerns about how difficult it was for the performers to manage in their elaborate costumes.
Billy Curtis later recalled the situation, noting how assistants were sometimes required to help, describing it in blunt terms as if the person involved needed to be cleaned up like a baby. Margaret Pellegrini also reflected on the experience, explaining that it was the first time she had ever received help using the restroom, adding that the costumes were extremely difficult to manage on her own.
Garland was harassed mercilessly
Judy Garland reportedly faced troubling behavior on set from some of the male Munchkin actors during the filming of The Wizard of Oz. In his memoir, Sid Luft described the older performers in unflattering terms, calling them "naughty" and noting that many of them spent their off-hours in bars where they were often disorderly, loud, and disruptive.
Luft also alleged that this behavior carried over into filming days, with some actors arriving hungover and acting in ways that made Garland's experience more difficult on set. He recounted one specific claim that she was subjected to repeated inappropriate conduct, including unwanted physical contact while working. These accounts have since been cited in discussions about the treatment of young performers in early Hollywood productions and the lack of protections that existed at the time.
The Munchkins went to jail
Sid Luft also claimed that some of the Munchkin actors involved in The Wizard of Oz were occasionally arrested during production breaks and then had to be released or bailed out so they could return to work on set. According to his account, this created ongoing difficulties for the studio in keeping filming on schedule, as certain performers were still required for daily production.
Luft wrote that the studio ultimately assigned a lieutenant to supervise the group more closely in an effort to prevent further disruptions. He suggested that some of the actors believed their small stature made them less likely to face consequences, noting that several ended up in jail but could not be held for long periods because they were needed for filming. His remarks reflect reported tensions between production demands and off-set behavior during the movie's shoot.
The snow was toxic
The "snow" used in the poppy field sequence in The Wizard of Oz was reportedly made from asbestos, a material that was widely used in film production at the time because of its resistance to fire and its lightweight, snow-like appearance on camera. In early Hollywood, asbestos was commonly used in a variety of set designs and special effects before its health risks were fully understood.
At the time, the substance was valued for its practical properties rather than its dangers, especially in large-scale productions that relied heavily on physical effects. It would later become widely recognized as a serious health hazard linked to cancer and other illnesses, leading to its removal from film use and many other industries.
Dorothy was almost played by Shirley Temple
Shirley Temple was at one point considered by some studio figures as a possible choice for the role of Dorothy in The Wizard of Oz, though she was ultimately never cast in the part. Temple was under contract with 20th Century Fox, while the film's rights were the subject of competition among multiple studios before Metro-Goldwyn-Mayer secured the project. As the film developed, casting decisions shifted over time, and the role eventually went to Judy Garland.
At the time, media commentary reflected public interest in the casting change, with one widely quoted remark describing Temple’s loss of the role as a major disappointment in her early career. Much later in life, Temple herself reflected on the outcome more calmly, reportedly saying, "Sometimes the gods know best," suggesting she accepted that the final casting choice was ultimately the right one for the film.
Garland's mom gave her pills
According to biographical accounts of Judy Garland, her mother was initially the one who introduced her to stimulant pills during the filming of The Wizard of Oz, reportedly with the intent of helping her maintain an energetic on-screen performance. Over time, these accounts suggest that the studio system at Metro-Goldwyn-Mayer became more involved in managing her workload and health, including the use of prescribed medications said to regulate both her weight and stamina.
Garland is also quoted in biographical material discussing her experiences working closely with Mickey Rooney. She described a demanding production environment in which performers were reportedly given stimulants to stay active for long stretches, followed by sleeping pills to recover briefly before being awakened again to resume work. These accounts portray an exhausting schedule that could extend for extended periods, reflecting the intense pressures of studio-era filmmaking practices.
Garland was put on a cruel diet
Accounts of the production of The Wizard of Oz describe strict control over Judy Garland's diet and appearance by studio leadership at Metro-Goldwyn-Mayer. According to biographical sources and later commentary, she was placed on a highly restrictive regimen that was intended to manage her weight during filming.
This reported routine included limited food intake, often described as chicken soup, along with black coffee and cigarettes, and was supplemented with appetite-suppressing pills. The approach reflected the rigid expectations placed on young contract players in the studio system at the time, where appearance and on-screen consistency were tightly controlled. These accounts are frequently cited in discussions about the pressures Garland faced during her early career.
The first director only lasted four days
George Cukor served as a temporary director on The Wizard of Oz for only a few days, stepping in during a transitional period in the production. Known for his strength in character-driven storytelling and his ability to work closely with actresses, Cukor's short involvement is often described as having a lasting influence on the film’s early development.
During his brief time on the project, he reportedly made several key suggestions regarding Dorothy’s appearance and performance. He is credited with removing the idea of a blonde wig and encouraging the use of Judy Garland’s natural reddish-brown hair instead. He also pushed for a more natural makeup style, simplifying her look with subtle eyebrows, light blush, and mascara. In terms of performance direction, he encouraged Garland to drop any overly theatrical mannerisms and portray Dorothy in a more grounded, everyday way, focusing on simplicity and authenticity.
The director reportedly slapped her
Judy Garland was just 16 years old during the filming of The Wizard of Oz and, according to some accounts, experienced harsh treatment on set from director Victor Fleming. It has been alleged that she was once slapped after struggling to complete a scene without breaking into laughter, reflecting the strict and sometimes punitive atmosphere said to exist during production.
Despite being the film's central performer, Garland reportedly received one of the lower salaries among the cast. Some accounts claim she earned only slightly more than Terry, the dog who played Toto. This contrast has often been cited in discussions about the studio system and the way even leading actors could be compensated modestly relative to a film’s lasting success.
The second director jumped ship
After the completion of the Wizard of Oz scenes, Victor Fleming moved on from the project to take over directing duties on Gone with the Wind. This overlap has often led to confusion, especially since George Cukor was also involved in the early stages of Gone with the Wind. At the same time, both productions were reportedly facing challenges while being filmed on different parts of the Metro-Goldwyn-Mayer lot, contributing to a period of shifting directors and production adjustments.
After roughly three weeks of shooting on Gone with the Wind, Clark Gable allegedly threatened to leave the production if Cukor was not replaced. One commonly cited explanation is that Gable felt Cukor, often described as a "woman's director," was not providing the kind of direction he preferred. Following the change, Fleming left The Wizard of Oz to take over Gone with the Wind, bringing both major MGM productions under his direction at different stages.
The set was incredibly hot
Because The Wizard of Oz was one of the early films shot in Technicolor, production required unusually large, carefully constructed sets, with cameras concealed in different areas and extensive lighting setups to properly expose the color film. These technical demands created extremely hot conditions on set, making filming physically uncomfortable for the cast and crew.
Cinematographer Harold Rosson recalled the intensity of the lighting, noting that massive arrays of arc lights were used overhead and that the production "borrowed every unused arc light in Hollywood." He described the set as brutally hot, with people frequently fainting and being carried out. Reports suggest temperatures sometimes exceeded 38°C. When conditions became unbearable, director Victor Fleming would reportedly shut off the lights and open the studio doors so the actors could briefly get relief outside.
There were hundreds and hundreds of costumes
The production of The Wizard of Oz involved a large ensemble cast of more than 600 actors, which in turn required an extensive wardrobe department responsible for creating nearly 1,000 costumes. Many of these outfits were highly detailed and elaborate, designed to match the film's fantasy setting and early Technicolor presentation. Dorothy’s ruby slippers, one of the most famous costume pieces in cinema history, were crafted with leather, satin, and more than 2,000 sequins. Rather than being a single pair, multiple versions were made for filming purposes.
At least four pairs of the slippers are known to exist today. One pair was famously stolen from the Judy Garland Museum in 2005 before later being recovered. Another pair was acquired in 2012 with the assistance of Leonardo DiCaprio and donated to the Academy of Motion Picture Arts and Sciences, further cementing the slippers’ status as iconic pieces of film history.
Some songs were cut
The Wizard of Oz is widely celebrated for its iconic musical score, though several songs and sequences originally planned for the film were ultimately removed before release. One of the most notable cut numbers was an original song titled "The Jitterbug," which referenced the popular dance craze of the era. It was intended to appear during the group's journey toward the Wicked Witch’s castle, adding a lighter musical interlude to the darker parts of the story.
In addition to “The Jitterbug,” at least two other musical moments were also cut from the final version. These included a reprise of “Ding-Dong! The Witch Is Dead” and an alternate reprise of “Over the Rainbow,” which would have been performed by Judy Garland while Dorothy was held captive in the Witch’s castle. While the filmed visuals for these sequences are no longer available, the audio recordings are known to survive, preserving a partial record of the deleted material.
It was a bit of a risk
Metro-Goldwyn-Mayer had high hopes that The Wizard of Oz would perform well upon release, but there was little expectation at the time that it would become a lasting cultural landmark. The cast and crew generally viewed it as a major studio production rather than a historic milestone, with success measured in box office performance rather than long-term legacy.
Jack Haley later reflected on this perspective in an interview, noting that none of the performers recognized the film's future significance while they were making it. He described the experience as steady employment over many weeks, emphasizing that it was simply a job at the time, with pay and routine production schedules rather than any sense that they were creating a cinematic classic.
Early reviews were mixed
Reception to The Wizard of Oz at the time of its release was generally positive, with some critics praising its technical achievements and family appeal. Variety predicted strong box office performance, suggesting the film could achieve "record-breaking feats of box-office magic." The review also noted that with early screenings in major cities, word of mouth would likely spread quickly due to its distinctive and entertaining qualities, calling it an easy success for family and children's audiences.
However, not all responses were favorable. The New Yorker, in a review by Russell Maloney, was notably harsh, criticizing the film for lacking imagination and taste and dismissing it as “a stinkeroo.” He also expressed personal dislike for the “Singer Midgets,” stating that their presence was even more distracting in Technicolor. Similarly, The New Republic offered a negative assessment, arguing that while the film included many spectacle elements such as dwarfs, music, and Technicolor visuals, it lacked humor and subtlety, comparing its sense of fantasy to “a pound of fruitcake soaking wet.”
Dan Gray
