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Natural Born Killers
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Not to be confused with Natural Born Killaz.
Natural Born Killers
Theatrical release poster
Directed by
Oliver Stone
Produced by
Jane Hamsher
Don Murphy
Clayton Townsend
Screenplay by
Richard Rutowski
Oliver Stone
David Veloz
Story by
Quentin Tarantino
Starring
Woody Harrelson
Juliette Lewis
Robert Downey, Jr.
Tommy Lee Jones
Tom Sizemore
Cinematography
Robert Richardson
Edited by
Hank Corwin
Brian Berdan
Production
company
Regency Enterprises
Distributed by
Warner Bros.
Release date
August 26, 1994 (1994-08-26)
Running time
119 minutes[1]
Country
United States
Language
English
Japanese
Navajo
Budget
$34 million[2]
Box office
$50.3 million[2]
Natural Born Killers is a 1994 American satirical black comedy crime film directed by Oliver Stone and starring Woody Harrelson, Juliette Lewis, Robert Downey Jr., Tom Sizemore, and Tommy Lee Jones. The film was released in the United States on August 26, 1994. The film tells the story of two victims of traumatic childhoods who became lovers and mass murderers, and are irresponsibly glorified by the mass media.
The film is based on an original screenplay by Quentin Tarantino that was heavily revised by writer David Veloz, associate producer Richard Rutowski, and director Stone; Tarantino received story credit. Jane Hamsher, Don Murphy, and Clayton Townsend produced the film, with Arnon Milchan, Thom Mount, and Stone as executive producers.
The film was released theatrically on August 26, 1994 in the United States, February 24, 1995 and premiered on Venice Film Festival on August 29, 1994. The film was a box office success, grossing over $50 million against a production budget of $34 million, and received generally mixed to positive reviews from critics, who praised the cast's performances, the movie's humor, plot, and combination of action and romance, but found the film much too violent and graphic. Notorious for its violent content and inspiring "copycat" crimes, the film was named the eighth most controversial film in history by Entertainment Weekly in 2006.[3]
Contents
[hide]
1 Plot
1.1 Prologue
1.2 Part I
1.3 Part II
1.4 Part III
2 Cast
3 Production
4 Style
5 Release
5.1 Box office
5.2 Critical response
6 Controversies
6.1 Censorship
6.2 "Copycat" crimes
7 Soundtrack
8 See also
9 References
10 Further reading
11 External links
Plot
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Prologue
Mickey Knox and his wife Mallory stop at a diner in the New Mexico desert. A duo of rednecks arrive and one begins sexually harassing Mallory while she is dancing. She briefly encourages him before beating him to a pulp, screaming "How sexy am I now, huh flirty boy?". Mickey and Mallory then murder all but one of the diner's staff, and one customer, culminating in a morbid game of Eeny, meeny, miny, moe to decide who lives and dies. After killing the waitress Mabel, the couple ensures that the only survivor remembers their names so that he can pass on the legend of Mickey and Mallory before they embrace and declare their undying love.
Part I
Mickey and Mallory camp out in the desert, and Mallory reminisces about when they first met. A flashback (done in the style of a TV sitcom, including a laughtrack) shows Mickey as a meat deliveryman who came to the house where Mallory lived with her sexually abusive father, her neglectful mother, and her younger brother, Kevin. Mickey and Mallory fall in love instantly and leave together, stealing Mallory's father's car. Soon Mickey is arrested and imprisoned for auto theft, but he subsequently escapes from a prison work farm during a tornado and returns to Mallory's house. The two kill Mallory's parents, but spare Kevin. Mallory's father is beaten and then drowned in the fish tank while her mother is tied to her bed and set on fire. Mickey and Mallory then go on the road together and get "married" on the side of a bridge, celebrating by taking a hostage. Furious with Mickey's notion that they have a threesome, Mallory drives to a nearby gas station, where she flirts with the mechanic. They begin to have sex on the hood of a car, but Mallory kills him when he recognizes her as a wanted killer. During this time, Mickey rapes the hostage.
Part II
The pair continue their killing spree, ultimately claiming fifty-two victims in New Mexico, Arizona, and Nevada. Pursuing them is Detective Jack Scagnetti, who became obsessed with mass murderers after witnessing his mother being shot and killed by Charles Whitman when he was eight. Beneath his heroic facade, he is a violent psychopath. The audience witnesses Scagnetti violently strangle a prostitute to death. The killers are also followed by self-serving tabloid journalist Wayne Gale. Gale profiles Mickey and Mallory on his show, American Maniacs, soon elevating them to cult hero status.
Mickey and Mallory get lost in the desert after taking psychedelic mushrooms. They come across a ranch where they encounter Warren Red Cloud, a Navajo Indian, and his young grandson. The Navajo provides them with food and shelter. After the two fall asleep, the Navajo, hoping to expel the demon he perceives in Mickey, begins chanting beside the fire. This invokes nightmares in Mickey about his abusive parents. Mickey wakes up in a panicked rage and fatally shoots Red Cloud before he realizes what he is doing. Mallory wakes up to the sound of the gunshot and starts screaming at Mickey for killing the man who sheltered them. This is the first time Mallory and Mickey feel guilty for a murder. Fleeing from the scene, they step outside of the house and come across a field of rattlesnakes. Mallory does not see the snakes and gets bitten first. Mickey lights a stick on fire to expose the snakes. While he is trying to help Mallory he also gets bitten.
They drive to a drugstore to find snakebite antidote, however the store is completely sold out. Mallory falls to the ground while Mickey runs to the pharmacy with the hopes that there will be more medication in stock. The pharmacist recognizes Mickey from the news report and sets off the silent alarm before Mickey kills him. Soon police cars arrive and Mallory is captured and subsequently beaten by the police. A gunfight breaks out between Mickey and the others while Mallory is held hostage. Scagnetti arrives and tells Mickey that unless he surrenders, he will cut off Mallory's breasts. Mickey gives up his guns, but attacks Scagnetti with a knife. The police taser him and the scene ends with Mickey and Mallory being beaten by a group of vengeful policemen as a Japanese news crew fronted by a female reporter films the action.
Part III
The story picks up one year later: the homicidal couple have been imprisoned, and are due to be moved to a mental hospital after being declared insane. Mickey and Mallory have now gone one year without seeing each other. Scagnetti arrives at the prison and encounters Warden Dwight McClusky, with whom he plans to murder the two criminals. McClusky will arrange for Scagnetti to be the driver for the Knoxes' transfer. Alone with the pair, Scagnetti will murder them, then claim that they tried to escape.
Meanwhile, Gale has persuaded Mickey to agree to a live interview that will air immediately after the Super Bowl. Mallory is held in solitary confinement elsewhere in the prison, awaiting her transport to the mental hospital. During the interview, Mickey gives a speech about how murder provides enlightenment and declares himself a "natural born killer". His words inspire the other inmates (who are watching the interview on TV in the recreation room) and incite them to riot.
McClusky, upon learning of the riot, orders the interview terminated despite Gale's vehement protests. Mickey is left alone with Gale, the film crew and several guards. Using a lengthy joke as a diversion, Mickey overpowers a guard and grabs his shotgun. He kills most of the guards with it and takes the survivors hostage, leading them through the prison riot. Gale follows, giving a live television report as people are beaten and killed around him.
While this riot is unfolding, Scagnetti enters Mallory's cell and attempts to seduce her. Mallory, feigning to reciprocate at first, rebuffs his efforts, smashing his face against the wall and breaking his nose. The two guards outside the cell struggle to enter while Mallory attacks Scagnetti. Finally, the two guards subdue her, and Scagnetti sprays her face with tear gas in revenge. Still live on national television, Mickey arrives at Mallory's cell, where he kills all the guards and engages in a Mexican standoff with Scagnetti, eventually feigning a concession. Mallory then approaches Scagnetti from behind and slashes his throat with a shank. To Scagnetti's horror, Mickey tells him that he was out of shotgun shells during the standoff. Mallory then picks up Scagnetti's gun, saying "You still like me now, Jack?" and kills him.
Mickey and Mallory continue to escape through the riot torn prison, with Gale's entire TV crew getting killed. Gale himself snaps, succumbing to Stockholm syndrome as well as indulging in his own longtime fascination for murder, and begins to shoot at the guards with a pistol that he has taken from one of the dead guards, but gets so frenzied that Mickey prefers to disarm him. After being rescued by a mysterious prisoner named Owen Traft, the trio of Mickey, Mallory, and Gale run into McClusky and a heavily armed posse of guards. The trio takes cover in a blood-splattered shower room. McClusky threatens to storm the shower room; Mickey, in turn, threatens to kill both Gale and a guard on live TV, and the prisoners walk out the front door, to McClusky's utter dismay, as he helplessly threatens to hunt them down. McClusky and his guards are then quickly massacred by hordes of inmates.
Mickey and Mallory steal a van and kill the last guard; Owen's fate is unknown. Escaping to a rural location, they give a final interview to Gale, whose ear they have seemingly removed (implied, but as a camera track reveals), before they tell him he must die also. He attempts various arguments to change their minds, finally appealing to their trademark practice of leaving one survivor; Mickey informs him they are leaving a witness to tell the tale, his camera. Gale accepts his fate and extends his arms as if on a cross as they shoot him dead while his unattended camera continues to roll. The couple is shown several years later, in an RV, with Mickey driving and a pregnant Mallory watching their two children play.
Cast
Main article: List of Natural Born Killers characters
Woody Harrelson as Mickey Knox
Juliette Lewis as Mallory Wilson Knox
Robert Downey, Jr. as Wayne Gale
Tom Sizemore as Detective Jack Scagnetti
Tommy Lee Jones as Warden Dwight McClusky
Rodney Dangerfield as Ed Wilson
Edie McClurg as Mrs. Wilson
Ross Malinger as Kevin Wilson
Russell Means as Warren Red Cloud, Sr. aka The Navajo Man
Lanny Flaherty as Earl
Evan Handler as David
Balthazar Getty as Gas station attendant
Richard Lineback as Sonny
Kirk Baltz as Roger
Steven Wright as Dr. Emil Reingold
Pruitt Taylor Vince as Deputy Warden Kavanaugh
Joe Grifasi as Deputy Sheriff Duncan Homolka
Everett Quinton as Deputy Wurlitzer
Marshall Bell as Deputy
Peter Crombie as Intense cop
Grand L. Bush as Prison inmate
Louis Lombardi as Deputy "Sparky"
Dale Dye as Dale Wrigley
Corey Everson as Mallory Knox in TV reconstruction
O-Lan Jones as Mabel
James Gammon (uncredited) as Redneck buddy
Mark Harmon (uncredited) as Mickey Knox in TV reconstruction
Adrien Brody and David Pasquesi (uncredited) as Gale's cameramen
Arliss Howard (uncredited) as Owen Traft, Mickey and Mallory's Guardian angel / The Demon
Deleted scenes
Ashley Judd as Grace Mulberry
Rachel Ticotin as Prosecutor Wanda Bisbing
Peter and David Paul as Simon and Norman Hun
Denis Leary and Bret Hart as Prison inmates
Production
Natural Born Killers was based upon a screenplay written by Quentin Tarantino, in which a married couple suddenly decide to go on a killing spree. Tarantino had sold an option for his script to producers Jane Hamsher and Don Murphy for $10,000 after he had tried, and failed, to direct it himself for $500,000.[4] Hamsher and Murphy subsequently sold the screenplay to Warner Bros. Around the same time, Oliver Stone was made aware of the script. He was keen to find something more straightforward than his previous production, Heaven & Earth; a difficult shoot which had left him exhausted, and he felt that Natural Born Killers could be what he was looking for.[5]
David Veloz, associate producer Richard Rutowski, and Stone rewrote the script, keeping much of the dialogue but changing the focus of the film from journalist Wayne Gale to Mickey and Mallory. The script was changed so much that as per WGA rules, Tarantino was credited for the film's story only. In a 1993 interview, Tarantino stated that he did not hold any animosity towards Stone, and that he wished the film well;
"It's not going to be my movie, it's going to be Oliver Stone's, and God bless him. I hope he does a good job with it. If I wasn't emotionally attached to it, I'm sure I would find it very interesting. If you like my stuff, you might not like this movie. But if you like his stuff, you're probably going to love it. It might be the best thing he's ever done, but not because of anything to do with me. [...] I actually can't wait to see it, to tell you the truth."[6]
Initially, when producers Hamsher and Murphy had first brought the script to Stone's attention, he had seen it as an action film; "something Arnold Schwarzenegger would be proud of."[7] As the project developed however, incidents such as the O.J. Simpson case, the Menendez brothers case, the Tonya Harding/Nancy Kerrigan incident, the Rodney King incident, and the Federal assault of the Branch Davidian sect all took place. Stone came to feel that the media was heavily involved in the outcome of all of these cases, and that the media had become an all-pervasive entity which marketed violence and suffering for the good of ratings. As such, he changed the tone of the movie from one of simple action to a satirical critique of the media in general.[5] Also coloring Stone's approach, and contributing to the violent nature of the film, were the anger and sadness he felt at the breakdown of his second marriage.[8] He also said in an interview that the film was influenced by the "vitality" of Indian cinema.[9] He let Rodney Dangerfield write or rewrite all of his own character's lines.[10]
During pre-production, to prepare for the role of Wayne Gale, Downey spent time with Australian TV shock-king Steve Dunleavy, and later convinced Stone to allow him to portray Gale with an Australian accent. Also during pre-production, Stone tried to convince actress Juliette Lewis to bulk up for the role of Mallory so that she looked tougher, but she refused, saying she wanted the character to look like a pushover, not a bodybuilder.[11]
Principal photography took only 56 days to shoot, but the editing process went on for 11 months, with the final film containing almost 3,000 cuts (most films have 600–700).[11] Filming locations included the Rio Grande Gorge Bridge just west of Taos, New Mexico, where the wedding scene was filmed, and Stateville Correctional Center in Joliet, Illinois, where the prison riot was filmed. In Stateville, 80% of the prisoners are incarcerated for violent crimes. For the first two weeks on location at the prison, the extras were actual inmates with rubber weapons. For the subsequent two weeks, 200 extras were needed because the Stateville inmates were on lockdown. According to Tom Sizemore, during filming on the prison set, Stone would play African tribal music at full blast between takes to keep the frantic energy up.[7] Whilst shooting the POV scene wherein Mallory runs into the wire mesh, director of photography Robert Richardson broke his finger and the replacement cameraman cut his eye. According to Oliver Stone, he wasn’t too popular with the camera department on set that day.[11] For the scenes involving rear projection, the projected footage was shot prior to principal photography, then edited together, and projected onto the stage, behind the live actors. For example, when Mallory drives past a building and flames are projected onto the wall, this was shot live using footage projected onto the facade of a real building.[11]
The famous Coca-Cola polar bear ad[12] is seen twice during the film. According to Stone, Coca-Cola approved the use of the ad without having a full idea of what the film was about. When they saw the completed film, they were furious.[11]
The film's soundtrack was produced by Stone and Trent Reznor of Nine Inch Nails, who reportedly watched the film over 50 times to "get in the mood".[11] Reznor reportedly produced the soundtrack while on tour.[13][14] On his approach to compiling the soundtrack, Reznor told MTV:
I suggested to Oliver [Stone] to try to turn the soundtrack into a collage-of-sound, kind of the way the movie used music: make edits, add dialog, and make it something interesting, rather than a bunch of previously released music.[15]
Some songs were written especially for the film or soundtrack, such as "Burn" by Nine Inch Nails.
Style
Natural Born Killers is shot and edited in a frenzied and psychedelic style consisting of black and white, animation, and other unusual color schemes, and employing a wide range of camera angles, filters, film stocks, lenses, and special effects. Much of the film is told via parodies of television shows, including a scene (I Love Mallory) presented in the style of a sitcom about a dysfunctional family. Commercials which were commonly on the air at the time of the film's release make brief, intermittent appearances. In his DVD director's commentary, Stone goes into great detail about the look of the film, explaining scene by scene why a particular look was chosen for a particular scene.
According to Hollywood.com, Natural Born Killers is a satirical crime film,[16] while Foster Hirsch deemed it "the crime film as would-be social and cultural satire".[17] Stone considered it his road film, specifically naming Bonnie and Clyde as a source of inspiration.[18] The famous death scene in Bonnie and Clyde used innovative editing techniques provided by multiple cameras shot from different angles at different speeds; this sporadic interchange between fast-paced and slow-motion editing that concludes Arthur Penn's film is used throughout the entirety of Natural Born Killers.[19]
Furthermore, both films fall under the road film genre through their constant challenges of the society in which the characters live. While Bonnie and Clyde attempt to disintegrate the weakened economic and social landscape of the 1930s, Mickey and Mallory try to free America from the overarching conventions which influence the common masses, primarily the media. However, whilst Bonnie and Clyde concludes with a pessimistic outlook regarding individual freedom within the American sphere of influence, Oliver Stone sees Natural Born Killers as having an optimistic finale. In Bonnie and Clyde, the police's ambush of the couple exhibits the empirical control of law enforcement over the individual. Natural Born Killers, however, ends with the couple symbolically destroying the mass media, as represented by Wayne Gale, and successfully fleeing together to live a relatively "normal" life. As Stone himself says, "In its own way, Natural Born Killers is ultimately a very optimistic film about the future. It's about freedom, and the ability of every human being to get it."[11]
Release
Box office
This section needs expansion. You can help by adding to it. (November 2014)
In its opening weekend, Natural Born Killers grossed a total of $11,166,687 in 1,510 theaters. As of January 12, 2007, the film had grossed a total of $50,282,766 domestically,[20] compared to its $34 million budget.[21]
Critical response
The film received a mixed critical response. As of December 1, 2017, the review aggregator Rotten Tomatoes records an average response of 46%, based on 37 reviews. However, Metacritic records a score of 74 out of 100 based on 20 reviews. Roger Ebert of the Chicago Sun-Times gave the film four stars out of four and wrote, "Seeing this movie once is not enough. The first time is for the visceral experience, the second time is for the meaning."[22] On his television show, his partner Gene Siskel agreed with him, adding extra praise to the scene featuring Rodney Dangerfield.
Other critics found the film unsuccessful in its aims. Hal Hinson of The Washington Post claimed that "Stone's sensibility is white-hot and personal. As much as he'd like us to believe that his camera is turned outward on the culture, it's vividly clear that he can't resist turning it inward on himself. This wouldn't be so troublesome if Stone didn't confuse the public and the private."[23] Janet Maslin of The New York Times wrote, "for all its surface passions, Natural Born Killers never digs deep enough to touch the madness of such events, or even to send them up in any surprising way. Mr. Stone's vision is impassioned, alarming, visually inventive, characteristically overpowering. But it's no match for the awful truth."[24]
James Berardinelli gave the film a negative review but his criticism was different from many other such pans, which generally said that Oliver Stone was a hypocrite for making an ultra-violent film in the guise of a critique of American attitudes. Berardinelli noted that the movie "hits the bullseye" as a satire of America's lust for bloodshed, but repeated Stone's main point so often and so loudly that it became unbearable.[25]
Lionsgate Films released a director's cut on DVD. Stone himself retained ownership of his preferred cut. Distribution rights to the director's cut reverted from Lionsgate to Warner Bros. in 2009, giving Warner all distribution rights.
Controversies
Censorship
When the film was first handed in to the MPAA, they told Stone they would give it an NC-17 unless he cut it. As such, Stone toned down the violence by cutting approximately four minutes of footage, and the MPAA re-rated the film as an R. In 1996, a Director's Cut was released on home video by Vidmark Entertainment and Pioneer Entertainment, as Warner Bros. wanted nothing to do with that particular version.[26] Warner Home Video later released this cut on Blu-ray.[27]
The film was banned completely upon release in Ireland, including – controversially – from cinema clubs, in significant part because the principal characters have Irish names. The ban was later quietly lifted.[28][29]
In the UK, though the cinema release was delayed while the BBFC investigated reports that the film caused copycat murders in the USA and France,[30] it was finally shown in cinemas in February 1995.
The original intended UK home video release in March 1996 was cancelled due to the Dunblane massacre in Scotland. In the meantime, Channel Five showed the film in November 1997. It was finally released on video in July 2001.[31]
Entertainment Weekly ranked the film as the eighth most controversial film ever.[32]
"Copycat" crimes
Main article: Natural Born Killers copycat crimes
From almost the moment of its release, the film has been accused of encouraging and inspiring numerous murderers in North America, including the Heath High School shooting and the Columbine High School massacre.
Soundtrack
Main article: Natural Born Killers (soundtrack)
The soundtrack was released August 23, 1994 by Interscope Records.
"Waiting for the Miracle" (Edit) – Leonard Cohen
"Shitlist" – L7
"Moon Over Greene County" (Edit) – Dan Zanes
"Rock N Roll Nigger" (Flood Remix) – Patti Smith
"Sweet Jane" (Edit) – Cowboy Junkies
"You Belong to Me" – Bob Dylan
"The Trembler" (Edit) – Duane Eddy
"Burn" – Nine Inch Nails
"Route 666" – BB Tone Brian Berdan featuring Robert Downey Jr.
"Totally Hot" – Remmy Ongala & Orchestre Super Matimila
"Back in Baby's Arms" – Patsy Cline
"Taboo" (Edit) – Peter Gabriel and Nusrat Fateh Ali Khan
"Sex is Violent" – Jane's Addiction and Diamanda Galás (based on "Ted, Just Admit It...")
"History Repeats Itself" (Edit) – A.O.S.
"Something I Can Never Have" (Edited and Extended) – Nine Inch Nails
"I Will Take You Home" – Russell Means
"Drums a Go-Go" (Edit) – The Hollywood Persuaders
"Hungry Ants" – Barry Adamson
"The Day the Niggaz Took Over" – Dr. Dre
"Born Bad" – Juliette Lewis
"Fall of the Rebel Angels" (Edit) – Sergio Cervetti
"Forkboy" – Lard
"Batonga in Batongaville" (Edit) –
"A Warm Place" (Edit) – Nine Inch Nails
"Allah, Mohammad, Char, Yaar" – Nusrat Fateh Ali Khan
"The Future" (Edit) – Leonard Cohen
"What Would U Do?" – Tha Dogg Pound
Tracks 10, 13, 18, 20, 23, and 25 are assembled from various recordings and dialogue from the film.
See also
Film in the United States portal
1990s portal
Charles Starkweather
References
Jump up ^ "NATURAL BORN KILLERS (18)". British Board of Film Classification. December 20, 1994. Retrieved September 25, 2014.
^ Jump up to: a b "Natural Born Killers (1994)". Box Office Mojo. 1994-10-18. Retrieved 2016-01-06.
Jump up ^ 25 Most Controversial Movies Ever, Entertainment Weekly, 9 June 2006
Jump up ^ Hamsher, Jane (1998). Killer Instinct. Broadway. pp. 48–51. ISBN 0-7679-0075-8.
^ Jump up to: a b "Oliver Stone Interview with Charlie Rose". Retrieved 2008-11-25.
Jump up ^ Fuller, Graham (1998). "Graham Fuller/1993". In Peary, Gerald. Quentin Tarantino: Interviews. University Press of Mississippi. pp. 57–59. ISBN 1-57806-051-6.
^ Jump up to: a b "'Chaos Rising: The Storm Around Natural Born Killers' (DVD Featurette)".
Jump up ^ Cadwalladr, Carole (18 July 2010). "Oliver Stone and the politics of film-making". The Observer. paragraph 19. Retrieved 22 July 2010.
Jump up ^ "Oliver Stone 'loves' Indian cinema". BBC News. October 27, 2010.
Jump up ^ "MOVIES : Natural Born Actor : Comic titan Rodney Dangerfield is getting respect for his performance as a hateful dad in 'Natural Born Killers.'". LA Times. Retrieved 2013-05-27.
^ Jump up to: a b c d e f g "Director's Commentary (DVD Extra)".
Jump up ^ "Coke Lore: Polar Bears – Advertising Case History". The Coca-Cola Company. Retrieved 20 October 2010.
Jump up ^ "Natural Born Thriller". Los Angeles Times. October 1994.
Jump up ^ "An Interview with Charlie Clouser". Scene Magazine. September 1996.
Jump up ^ "Box Set: NIN On "Doing The Soundtrack For Natural Born Killers"". MTV.com. Retrieved 2008-02-18.
Jump up ^ "Natural Born Killers". Hollywood.com. Retrieved August 21, 2016.
Jump up ^ Hirsch, Foster (2004). Detours and Lost Highways: A Map of Neo-Noir. Hal Leonard Corporation. p. 266. ISBN 161774784X.
Jump up ^ Lavington, Stephen. Oliver Stone. London: Virgin Books, 2004.
Jump up ^ Leong, Ian, Mike Sell, and Kelly Thomas. "Mad Love, Mobile Homes, and Dysfunctional Dicks." The Road Movie Book. Ed. Steven Cohan and Ina Rae Hark (1997): 70–89.
Jump up ^ "Natural Born Killers". Box Office Mojo. Retrieved 2007-01-12.
Jump up ^ Corliss, Richard (1994-08-24). "Stone Crazy". Time Magazine. Retrieved 2008-11-23.
Jump up ^ Ebert, Roger (August 26, 1994). "Natural Born Killers". Chicago Sun-Times. Retrieved 2007-01-12.
Jump up ^ Hinson, Hal (August 26, 1994). "Natural Born Killers". The Washington Post. Retrieved 2007-01-12.
Jump up ^ Maslin, Janet (August 26, 1994). "Natural Born Killers; Young Lovers With a Flaw That Proves Fatal". The New York Times. Retrieved 2007-01-12.
Jump up ^ Berardinelli, James. "Natural Born Killers". ReelViews. Retrieved 2017-07-10.
Jump up ^ FILM;With Video, 'Cut!' Needn't Be the Director's Final Word - New York Times. Nytimes.com (1996-04-14). Retrieved on 2014-05-22.
Jump up ^ Natural Born Killers (Unrated Director's Cut) [Blu-ray]: Woody Harrelson, Juliette Lewis, Tom Sizemore, Oliver Stone: Movies & TV. Amazon.com. Retrieved on 2014-05-22.
Jump up ^ "'Natural Born Killers' Is Banned in Ireland". NY Times. Retrieved 2013-05-26.
Jump up ^ "Irish Film Institute - Natural Born Killers". Irish Film Institute. Retrieved 2013-05-26.
Jump up ^ [1] Archived March 19, 2015, at the Wayback Machine.
Jump up ^ "Natural Born Killers given video release". The Guardian. London. May 16, 2001.
Jump up ^ 25 Most Controversial Movies Ever, Entertainment Weekly (archived at Internet Archive), 2010-01-06, Archived from the original on January 6, 2010, retrieved 2016-06-10 CS1 maint: Unfit url (link)
Further reading
Hamsher, Jane (1998). Killer Instinct. Broadway.
Hanley, Jason. (2001) “Natural Born Killers: Music and Image in Postmodern Film,” in Postmodern Music/ Postmodern Thought, Routledge. ed. Joseph Auner and Judy Lochhead, pp. 335–359.
External links
Wikiquote has quotations related to: Natural Born Killers
Natural Born Killers on IMDb
Natural Born Killers at Box Office Mojo
Natural Born Killers at Rotten Tomatoes
Natural Born Killers at Metacritic
"Natural Born Killers: Beyond Good and Evil", by Heidi Nelson Hochenedel, Ph.D.
"Natural Born Copycats", a 2002 article from The Guardian on Stone's response to claims that the film inspired several murders.
[show]
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Films by Oliver Stone
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Seizure (1974)
The Hand (1981)
Salvador (1986)
Platoon (1986)
Wall Street (1987)
Talk Radio (1988)
Born on the Fourth of July (1989)
The Doors (1991)
JFK (1991)
Heaven & Earth (1993)
Natural Born Killers (1994)
Nixon (1995)
U Turn (1997)
Any Given Sunday (1999)
Alexander (2004)
World Trade Center (2006)
W. (2008)
Wall Street: Money Never Sleeps (2010)
Savages (2012)
Snowden (2016)
Documentaries
Persona Non Grata (2003)
Comandante (2003)
Looking for Fidel (2004)
South of the Border (2009)
The Untold History of the United States (2012 series)
The Putin Interviews (2017)
Screenwriter only
Midnight Express (1978)
Conan the Barbarian (1982)
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Year of the Dragon (1985)
8 Million Ways to Die (1986)
Evita (1996)
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1951–1968
A Streetcar Named Desire (1951)
Mandy (1952)
Executive Suite (1954)
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The Magician (1959)
Rocco and His Brothers (1960)
Peace to Him Who Enters (1961)
My Life to Live (1962)
The Fire Within / Introduction to Life (1963)
The Gospel According to St. Matthew / Hamlet (1964)
Simon of the Desert / I Am Twenty / Modiga mindre män (1965)
Chappaqua / Yesterday Girl (1966)
China Is Near / La Chinoise (1967)
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Tin Woodman
From Wikipedia, the free encyclopedia
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For the science fiction novel, see Tin Woodman (novel).
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Nick Chopper
The Tin man
Oz character
The Tin Woodman as illustrated by William Wallace Denslow (1900)
First appearance
The Wonderful Wizard of Oz (1900)
Created by
L. Frank Baum
Portrayed by
Jack Haley
Information
Nickname(s)
The Tin Woodman
Aliases
The Tin Man, Rusty Tin Man
Species
Former human (in the novels, not in the 1939 MGM film The Wizard of Oz)
Gender
Male
Occupation
Ruler of the Winkies
Title
Emperor
Significant other(s)
Nimmie Amee
Relatives
Chopfyt (made with some of his human parts)
Nationality
Munchkinland
The Tin Woodman, better known as either the Tin Man or (incorrectly) the Tin Woodsman (the third name appears only in adaptations, the first—and in rare instances, the second—was used by Baum), is a character in the fictional Land of Oz created by American author L. Frank Baum. Baum's Tin Woodman first appeared in his classic 1900 book The Wonderful Wizard of Oz, and reappeared in many other Oz books. In late 19th-century America, men made out of various tin pieces were used in advertising and political cartoons. Baum, who was editing a magazine on decorating shop windows when he wrote The Wonderful Wizard of Oz, was reportedly inspired to invent the Tin Woodman by a figure he had built out of metal parts for a shop display.
Contents
[hide]
1 The books
2 The Tin Man in later fiction
3 Depictions on stage and screen
4 Modern works
5 Sources of the Tin Man image
6 References
The books[edit]
Originally an ordinary man by the name of Nick Chopper (the name first appearing in The Marvelous Land of Oz), the Tin Woodman used to make his living chopping down trees in the forests of Oz, as his father had before him. The Wicked Witch of the East enchanted his axe to prevent him from marrying his sweetheart, after being bribed by the lazy old woman who kept the Munchkin maiden as a servant, and did not wish to lose her. (In a later book of the series, The Tin Woodman of Oz, the woman is said to be the Witch's servant, and it is the Witch herself who decides to enchant Nick's axe.) The enchanted axe chopped off his limbs, one by one. Each time he lost a limb, Ku-Klip the tinsmith replaced it with a prosthetic limb made of tin. Finally, nothing was left of him but tin. However, Ku-Klip neglected to replace his heart. Once Nick Chopper was made entirely of tin, he was no longer able to love the lady he had fallen for.
In The Wonderful Wizard of Oz, Dorothy Gale befriends the Tin Woodman after they find him rusted in the forest, as he was caught in rain, and use his oil can to release him. He follows her to the Emerald City to get a heart from The Wizard. They are joined on their adventure by the Scarecrow and the Cowardly Lion. The Wizard sends Dorothy and her friends to the Winkie Country to kill the Wicked Witch of the West. The Tin Woodman's axe proves useful in this journey, both for chopping wood to create a bridge or raft as needed, and for chopping the heads off animals that threaten the party. When the Winged monkeys are sent by the Witch of the West against the group, they throw the Tin Woodman from a great height, damaging him badly. However Winkie Tinsmiths are able to repair him after the death of the Witch.
His desire for a heart notably contrasts with the Scarecrow's desire for brains, reflecting a common debate between the relative importance of the mind and the emotions. This occasions philosophical debate between the two friends as to why their own choices are superior; neither convinces the other, and Dorothy, listening, is unable to decide which one is right. Symbolically, because they remain with Dorothy throughout her quest, she is provided with both and need not select.[1] The Tin Woodman states unequivocally that he has neither heart nor brain, but cares nothing for the loss of his brain. Towards the end of the novel, though, Glinda praises his brain as not quite that of the Scarecrow's.
The Wizard turns out to be a "humbug" and can only provide a placebo heart made of silk and filled with sawdust. However, this is enough to please the Tin Woodman, who, with or without a heart, was all along the most tender and emotional of Dorothy's companions (just as the Scarecrow was the wisest and the Cowardly Lion the bravest). When he accidentally crushes an insect, he is grief-stricken and, ironically, claims that he must be careful about such things, while those with hearts do not need such care. This tenderness remains with him throughout the series, as in The Patchwork Girl of Oz, where he refuses to let a butterfly be maimed for the casting of a spell.[2]
When Dorothy returns home to her farm in Kansas, the Tin Woodman returns to the Winkie Country to rule as emperor. Later, he has his subjects construct a palace made entirely of tin — from the architecture all the way down to the flowers in the garden.
Baum emphasized that the Tin Woodman remains alive, in contrast to the windup mechanical man Tik-Tok Dorothy meets in a later book. Nick Chopper was not turned into a machine, but rather had his flesh body replaced by a metal one. Far from missing his original existence, the Tin Woodman is proud (perhaps too proud) of his untiring tin body.
A recurring problem for the Tin Woodman in The Wonderful Wizard of Oz and afterward was his tendency to rust when exposed to rain, tears, or other moisture. For this reason, in The Marvelous Land of Oz the character has himself nickel-plated before helping his friend the Scarecrow fight to regain his throne in the Emerald City. Even so, the Tin Woodman continues to worry about rusting throughout the Oz series.
This is inaccurate, in that tin does not rust; only iron does. This may reflect the usage where an object made of iron or steel but coated with tin (in order to prevent rusting) is called a "Tin" object, as a "tin bath", a "tin toy", or a "tin can"; thus, the Tin Woodman might be interpreted (in English, at least) as being made of steel with a tin veneer. One passage in The Road to Oz, by Baum himself, wherein the Woodman attends Ozma's birthday party accompanied by a Winkie band playing a song called "There's No Plate Like Tin," strongly implies that this is the case. Another explanation may be that the Woodman is chiefly made of tin, with iron joints; in some of the illustrations, his joints are a different color from the rest of his body.[3] In Alexander Volkov's Russian adaptation of The Wonderful Wizard of Oz, Volkov avoided this problem by the translation of "The Tin Woodman" as the "Iron Woodchopper".
The Tin Woodman appeared in most of the Oz books that followed. He is a major character in the comic page Baum wrote with Walt McDougall in 1904-05, Queer Visitors from the Marvelous Land of Oz. In Ozma of Oz, he commands Princess Ozma's army, and is briefly turned into a tin whistle. In Dorothy and the Wizard in Oz, he serves as defense counsel in the trial of Eureka. He affects the plot of a book most notably in The Patchwork Girl of Oz, in which he forbids the young hero from collecting the wing of a butterfly needed for a magical potion because his heart requires him to protect insects from cruelty. Baum also wrote a short book titled The Scarecrow and the Tin Woodman, part of the Little Wizard Stories of Oz series for younger readers.
In The Tin Woodman of Oz, Nick Chopper finally sets out to find his lost love, Nimmie Amee, but discovers that she has already married Chopfyt, a man constructed partly out of his own dismembered and discarded limbs. For the Tin Woodman, this encounter with his former fiancée is almost as jarring as his experiences being transformed into a tin owl, meeting another tin man, Captain Fyter, and conversing with his ill-tempered original head.
Baum's successors in writing the series tended to use the Tin Woodman as a minor character, still ruling the Winkie Country but not governing the stories' outcome. Two exceptions to this pattern are Ozoplaning with the Wizard of Oz, by Ruth Plumly Thompson, and Lucky Bucky in Oz, by John R. Neill. The biggest exception is in Rachel Cosgrove's The Hidden Valley of Oz, in which the Tin Woodman leads the forces in the defeat of Terp the Terrible and cuts down the Magic Muffin Tree that gives Terp his great size.
The fact that Nick includes the natural deaths of his parents in the story of how he came to be made of tin has been a major element of debate. In his eponymous novel, he proclaims that no one in Oz ever died as far back as Lurline's enchantment of the country, which occurred long before the arrival of any outsiders such as the Wizard. (It should be noted, however, that although the living creatures of Oz do not die of age or disease, they may die of accidents or be killed by others.)
The Tin Man in later fiction[edit]
In the 1998 novel The Tin Man, by Dale Brown, the eponymous protagonist is a power-armored vigilante whom the media and police have dubbed The Tin Man for his physical resemblance to the Wizard of Oz character.
The Tin Woodman is a minor character in author Gregory Maguire's 1995 revisionist novel Wicked: The Life and Times of the Wicked Witch of the West, its 2003 Broadway musical adaptation and Maguire's 2005 sequel Son of a Witch. In the book, Nessarose - the Wicked Witch of the East - is seen enchanting the axe to swing around and chop off Nick Chopper's limbs. She does this for a peasant woman who wishes to stop her servant, probably Nimmie Amee, from marrying Nick Chopper. This seems to be close to the Tin Man's origin in the original books, but from the Witch's perspective.
In the musical adaptation of Wicked the Tin Man is revealed to be Boq, a Munchkin whom Nessarose, the Wicked Witch of the East, fell in love with when they were at school together. When she discovered his heart belonged to Glinda, she botched a spell that was meant to make him fall in love with her by taking his heart, but instead shrunk his heart to nothing by taking it away without 'giving' it to Nessa. To save his life, Elphaba, the Wicked Witch of the West, was forced to turn him into tin. Not understanding her reasons, he pursues Elphaba with a single-minded vengeance for his current form. The Tin Man's humble origin in the novel conflicts with his having been the aristocratic Boq.
In Oz Squad, Nick was shown in a sexual relationship with "Rebecca Eastwitch" in order to get closer to Nimmie Amee and attempt to elope with her.
A darker twist to the beloved woodman is made by author James A. Owen in the fourth installment of his series, The Chronicles of the Imaginarium Geographica when his identity is revealed to be Roger Bacon.[4]
The Tin Woodman appears in the 2011 TV series Once Upon a Time episode "Where Bluebirds Fly" portrayed by Austin Obiajunwa (as a teenager) and by Alex Désert (as an adult).[5] In this version he goes by the name Stanum (derived from the Latin word "stannum", which means "tin").
Since youth, Stanum has been a woodcutter and one day when he first met Zelena, the daughter of another woodsman, he finds out that Zelena has magic and befriends her, regardless of whatever the children say about Zelena, who they see as a freak. Many years later, Stanum, now a man, is punished by the Wicked Witch of the North for chopping down a tree in her domain, and his body slowly begins to transform into tin. To prevent himself from completely becoming tin, Stanum seeks out help from Zelena (now the Wicked Witch of the West) at the Emerald City of Oz. Zelena agrees to help him seek out the Crimson Heart, which can save him. During their quest, Stanum tells Zelena that she doesn't have to be lonely but she is doing her best to deny his advice. Suddenly, a lion comes of nowhere to attack Stanum, and Zelena uses her magic to make the lion go away (at this point the lion has become as Zelena would put it, cowardly). When they finally arrived to the location of the Crimson Heart, the two learned that the only way to make it work is through the absorption of another person's magic. Unfortunately Zelena's actions and selfish greed for magic causes her to betray Stanum, whom she suspect was aligned with Dorothy by keeping the Crimson Heart for herself, leaving Stanum to transform into the Tin Man permanently. Some time later, when Robin Hood arrives in Oz in the episode "Heart of Gold", the Tin Man is seen on the side of the Yellow Brick Road, torn apart.
Depictions on stage and screen[edit]
Poster for 1902 stage extravaganza
Buddy Ebsen as the Tin Man
In 1902, Baum helped to adapt The Wizard of Oz into a wildly successful stage extravaganza. David C. Montgomery played the Tin Woodman, Niccolo Chopper (who played the piccolo), opposite Fred Stone as the Scarecrow, and the team became headliners. The piccolo would continue to appear in early adaptations, such as the 1910 film, but was largely forgotten, and the name "Niccolo" never appeared in one of the books. Revisionist books like Oz Squad have referred to him as "Nicholas," a name not found in the books, either.
In the classic 1939 film The Wizard of Oz, the Tin Man was played by actor Jack Haley. Originally, Ray Bolger was cast to play the role of Tin Man, despite his desire to play the Scarecrow. Buddy Ebsen was, at the time, cast as Scarecrow, and was convinced to swap roles with Bolger.[6] While this pleased Bolger, it led to medical problems for Ebsen. The Tin Man's makeup originally contained aluminum powder which got into Ebsen's lungs, bringing him to the edge of death. He was rushed to a hospital and had to give up the role. Despite this, and the fact that the Tin Man's makeup was changed to a safer aluminum paste, Ebsen went on to outlive both Bolger and Haley. Haley based his breathy speaking style in the movie on the voice he used for telling his son bedtime stories. His portrayal of the character is by far the most famous. There is no explanation in the film of how the Tin Man became the Tin Man. It is subtly implied that he was always made of tin; the only reference to the tinsmith is the Tin Man's remark "The tinsmith forgot to give me a heart". Unlike the costumes of the Scarecrow (in the National Museum of American History) and Cowardly Lion (two sets in private hands), that of the Tin Man "was largely destroyed".[7][8] Haley also portrayed the Tin Man's Kansas counterpart, Hickory (one of Aunt Em and Uncle Henry's farmworkers). Screenwriter Noel Langley created this character for the film.[9] Hickory helps Zeke (Lion's alter ego) lower a bed into its place on a wagon at the farm. Unlike Zeke, Hickory and Hunk (Scarecrow's alter ego) lose their hats with Uncle Henry as they struggle to open the cellar when the tornado approaches the farm. He reunites with Dorothy when she awakes from being unconscious. Hickory is seen with Aunt Em, Uncle Henry, Zeke, and Hunk as well as Professor Marvel (The Wizard's alter ego).
In the original Broadway version of The Wiz, Tiger Haynes played the Tinman, a human woodcutter who became tin after the Wicked Witch of the East cursed his axe to chop him up (as in the book). Nipsey Russell played the Tinman in the film adaptation of The Wiz. In this version, as in the 1939 movie, there is no explanation of how he became tin, just a reference of the "genius who created me". He worked as the carnival barker and when the park was closed, he was abandoned, rusted and squeezed by his fourth wife, "Teeny" (a heavy tin sculpture of a fat lady). He was saved by Dorothy and the Scarecrow. Ne-Yo played the Tinman in the TV special The Wiz Live!. This version portrayed him as a construction worker on whom the Wicked Witch of the East developed an unrequited crush. When she found out he already had a girlfriend, "Bertha", she became so jealous, she turned him into a heartless tinman. The Witch boasted afterwards that if she couldn't have his heart, then no one could. Like Jack Haley in the 1939 movie, Ne-Yo also played one of Aunt Em's farmhands - John, who walks with a metal leg brace.
Other notable actors who have played the Tin Woodman include Oliver Hardy in a 1925 silent version of The Wizard of Oz directed by and starring Larry Semon, in which a villainous farmhand briefly fell into a tin pile and emerged as a "Tin Woodsman" [sic]. In subsequent scenes the tin was removed and he became "Knight of the Garter". In the 1960 television adaptation of The Land of Oz, he was played by vaudeville comedian Gil Lamb; in the 1969 film, The Wonderful Land of Oz he was played by Al Joseph; and in the 1985 film Return to Oz, he was played by Deep Roy, a little person who was able to fit inside a costume that looked nearly identical to John R. Neill's artwork.
In the 1961 animated TV series, Tales of the Wizard of Oz and its sequel, the 1964 NBC animated television special Return to Oz, the Tin Man (here named Rusty) was voiced by Larry D. Mann.
In the 1970s, the Tin Woodman appeared in a series of short animated educational films about heart health from Joleron Productions.
In an episode of The World's Greatest Super Friends, Superman temporarily became the Tin Man after a tornado took him, Wonder Woman, and Aquaman to Mister Mxyzptlk's planet of Oz.
In a 1981 episode of Scooby-Doo and Scrappy-Doo, Scrappy is dressed as the Tin Man after a tornado took him, Shaggy, and Scooby to "Ahz", a direct spoof of Oz with a different spelling by its enunciation.
In 1985, the Tin Woodman appeared in the educational film Act on Arthritis as well as in promotional commercials.
Roger Daltrey portrayed this character in the 1995 television stage performance The Wizard of Oz in Concert: Dreams Come True. The Kansas farmworker Hickory does not appear in this production. Daltrey performed a rock and roll tempo of "If I Only Had a Heart" in which he swung his microphone mimicking his Who persona. He also performed the bridge verses sung by the Tin Man in Nathan Lane's long version of "If I Only Had the Nerve". Toward the end, he hugged the Wizard (Joel Grey) saying to him "Thank you from the bottom of my heart!".
In 1996, they made a cartoon animated The Oz Kids. He has a son named Tin Boy. Like his father he can cut wood with his ax. And he has to be careful with water and snow or he'll be rust. His voice played by Andy Milder.
Hiroki Tsujiai from Ultra Maniac dresses as the Tin Man in the costume party.
James Kall portrayed the Tin Man in the 2001 ABC miniseries Life with Judy Garland: Me and My Shadows.
The Muppet Gonzo plays a similar role, the Tin Thing, in 2005's television film The Muppets' Wizard of Oz. In this version, he is the Wicked Witch's research assistant, transformed into a robot to prevent him wanting a day off to marry Camilla. Gonzo's other role is himself. He appears at the end of this film in the Muppets' show.
In 2006, the Tin Man was the protagonist in a pair of television commercials for Chef Boyardee brand canned Beef Ravioli, in a costume identical to the design used in the 1939 Oz film. In the commercials, the Tin Man (played by Australian actor David Somerville) is pursued by groups of children due to the fact that an oversized Beef Ravioli can label has been affixed to the back of his cylindrical torso (which he doesn't notice until the midpoint of the first commercial); thus, he appears to be a very large, mobile can of ravioli. In the first ad, the Tin Man escapes from his pursuers only to discover that the building he ducked into is an elementary school cafeteria full of hungry children and a teacher. The second ad begins with the Tin Man running through a residential neighborhood, accidentally adding to his pursuers when he stumbles across a backyard birthday party; after fleeing across a golf course (while dodging balls from the driving range), he is cornered in another backyard and threatened with a garden hose (playing on the Tin Man's classic weakness of rusting). As the scene shifts to the image of a Beef Ravioli can, sounds of water hitting metal and the Tin Man's cries for help are heard.
In 2006, the Chicago Under Ground Film Festival premiered Lee Lynch’s feature film titled Transposition of the Great Vessels. Based on the story of his own parents, who moved from Redding to Los Angeles, in hopes of making a better life. His father wanted to work for the forest service, and his mother wanted to be a cook, but their baby was born with a rare heart condition. They were forced to give up those dreams, and make choices that would give them insurance and stability. A naturalist movie interspersed with dream sequences; the “Tin Woodman” makes an appearance while on his deathbed, at UCLA Medical Center.
At Sundance of 2007, a film premiered by young director Ray Tintori entitled Death to the Tinman. It is a somewhat modernized retelling that takes place at sometime in the 1900s, in the town Verton, rather than Oz. However, the book of the same name, which tells the origins of the character, is cited by opening intertitles as the source. Although the basic premise is nearly identical, much of the details and all names and locations have been changed. This is partially due to the film's satirical look at criminal reenactments, as it states at the beginning that names "have been changed to protect the innocent." Perhaps the most interesting change that story makes, though, is the origin of the curse upon the Tinman's Axe, which is changed from being the Witch to being a curse from God. This film won a short filmmaking award at Sundance.
A 2007 CG animated short film called "After Oz",[10] produced by the film students at Vancouver Film School, centered on a stylized version of the Tin Man, after he has received his heart from Oz. The movie shows him moving through a colorful Oz city with his brand-new mechanical heart, before meeting a reddish female Tin Woman (or robot?) to whom he gives the heart. She proceeds to cruelly play with the heart.
An internet-collaboration, CG animated feature based on Baum's book The Tin Woodman of Oz was produced by A:M Films, and completed in 2009.
In 2010, Whitestone Motion Pictures[11] produced a 23-minute live-action short film, Heartless: The Story of the Tin Man. The film is based on the book The Tin Woodman of Oz, where Woot the Wanderer visits the Tin Man and asks how he came to be made of tin. In the film, the Tin Man appears to be more steam- or coal-powered. His chest cavity is covered by a door which reads "Pedudoe Tin Co." but this is a reference to the workings of the film company, and not a reference to any Oz book or material. The movie was made available for free viewing online and free downloading of its soundtrack.
In the 2013 prequel, Oz the Great and Powerful, although the Tin Woodman does not physically appear, the film introduces his creator, the Master Tinker, portrayed by Bill Cobbs.[12]
Tin Man appears in the animated film Legends of Oz: Dorothy's Return (which is based on Dorothy of Oz), voiced by Kelsey Grammer.
The Woodsman, a 2012 stage play written by James Ortiz with music by Edward W. Hardy, tells the backstory of the Tin Man, using puppetry, movement, and music. The play has received multiple Off Broadway productions, and won a 2016 Obie Award for Ortiz's puppet design.[13]
In the TV series Emerald City, the Tin Woodman equivalent is Jack (Gerran Howell), a friend of the enigmatic Tip, who helps 'him' escape from his imprisonment by a witch. When it is revealed that Tip is actually a girl whose true identity was suppressed by a potion, her strained emotional state causes her to push Jack over a balcony after he kisses her. Jack is subsequently found and rebuilt by scientists in a cyborg-like state; his head and right arm are still organic, but his heart and the rest of his body has been replaced or covered by mechanical armour.
The Tin Man appears in Once Upon a Time. In this show, he started out as a woodcutter named Stanum (portrayed by Austin Obiajunwa as a young man and by Alex Désert as an adult) who encountered a younger Zelena when she saved a bird's nest. When two bullies show up to harm Zelena, Stanum helped to fend them off. Years later, Stanum comes to Zelena for help. He tells Zelena that he is slowly turning to tin after he was cursed by the Wicked Witch of the North for cutting down a tree in her area. Stanum states that the Crimson Heart artifact might be able to help him, but needs Zelena's help to get by the beast that guards it. When close to its location, Stanum is attacked by a lion who is then fended off by Zelena. When they get to the heart, Zelena picks it up and felt some of her magic draining. When Zelena claims that Dorothy Gale put Stanum up to this task, Stanum commented that he never met Dorothy. He also stated that Zelena once claimed on the day they met that she would be happy being a normal human. As Stanum fully turns to tin and is unable to move, Zelena takes the box containing the Crystal Heart and leaves while telling Stanum that perhaps Dorothy will meet Stanum and free him.
Modern works[edit]
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The song "Country Robot/A Letter to Dorothy" by The Incredible Moses Leroy is written from the Tin Man's perspective; it includes the lyrics "You gave me oil, I was a rusty load/ You even helped me find my heart."
In the song "Tin Man" by the band America, the lyrics state that "Oz never did give nothin' to the Tin Man, that he didn't, didn't already have." The rest of the song has nothing to do with the Tin Man or Oz.
Country artist Kenny Chesney recorded the song "Tin Man" for his album "All I Need to Know". The first verse and refrain state:
Tracy Chapman included a song titled "Remember the Tinman" on her 1995 album New Beginning.
In the VeggieTales episode The Wonderful Wizard of Ha's, the Tin Man and his Kansas counterpart from the 1939 film were played by Larry the Cucumber.
In the 2007 Sci-Fi miniseries Tin Man, a "Tin Man" is a term used for the law enforcers of Central City in the Outer Zone (O.Z.) One of the story's protagonists, Wyatt Cain (played by Neal McDonough in the title role), is a Tin Man whose past left him hardened and distant from others. In addition, he is first found by Dorothy imprisoned in an iron suit that replays a non-stop loop of the capture of his wife and child.
The Avett Brothers 2009 Album I and Love and You features a song called "Tin Man".
Verses of the Future Islands 2010 post-pop, synth-ballad Tin Man contain numerous metaphorical, Tin-Man related references. The song also features a powerful and climactic end chorus consisting solely of the repeated line - "I am the Tin Man".
In the 2011 direct-to-DVD animated film Tom and Jerry and the Wizard of Oz, the Tin Man was voiced by Rob Paulsen.
The Tin Man appears in Dorothy and the Witches of Oz played by Jordan Turnage. He appears in the form of a man named Nick (played by Billy Boyd).
A 1990 episode of Star Trek: The Next Generation is titled "Tin Man."
The Phineas & Ferb episode "Wizard of Odd" features the Tin Man in his rusted state, but he is never freed from this condition. He is also featured in an end credits song entitled "Rusted."
Mickey Mouse Clubhouse did a parody special entitled "The Wizard of Dizz," in which the role of the Tin Man is played by Mickey Mouse.
The parody The Muppets' Wizard of Oz featured Gonzo the Great in the role of the Tin Man.
In the game Code Name: S.T.E.A.M., Tin Man, along with other Oz characters, is a playable character. His design is more based on Japanese culture and he have the ability to give steam to allies.
The Tin Woodman appears as a major antagonist in Danielle Paige's Dorothy Must Die novel series. In this series, Dorothy and her friends have been corrupted by Dorothy's use of magic and the 'magic' in the gifts they received from the Wizard, with the Tin Woodman now driven by a twisted 'love' for Dorothy that is nevertheless unrequited. He is described as possessing a more twisted appearance, with his legs compared to horses' legs and his hands possessing knives for fingers. At the conclusion of the first novel, series protagonist Amy Gumm cuts out his heart, having been informed by the Wizard that she must take the gifts of Dorothy's companions to kill Dorothy herself.
Sources of the Tin Man image[edit]
1890 cartoon portraying President Benjamin Harrison as a knight in tin armor
Economics and history professors have published scholarly studies that indicate the images and characters used by Baum and Denslow closely resembled political images that were well known in the 1890s.[14] They state that Baum and Denslow did not simply invent the Lion, Tin Woodman, Scarecrow, Yellow Brick Road, Silver Slippers, cyclone, monkeys, Emerald City, little people, Uncle Henry, passenger balloons, witches and the wizard. These were all common themes in the editorial cartoons of the previous decade. The notion of a "Tin Man" has deep roots in European and American history, according to Green (2006), and often appeared in cartoons of the 1880s and 1890s.[15] Baum and Denslow, like most writers and illustrators, used the materials at hand that they knew best. They built a story around them, added Dorothy, and added a series of lessons to the effect that everyone possesses the resources they need (such as brains, a heart and courage) if only they had self-confidence. The Wonderful Wizard of Oz was a children’s book, of course, but as Baum warned in the preface, it was a "modernized" fairy tale as well.
The Tin Man—the human turned into a machine—was a common feature in political cartoons and in advertisements in the 1890s. Indeed, he had been part of European folk art for 300 years. In political interpretations of The Wonderful Wizard of Oz, the Tin Woodman is supposedly described as a worker, dehumanized by industrialization. The Tin Woodman little by little lost his natural body and had it replaced by metal; so he has lost his heart and cannot move without the help of farmers (represented by the Scarecrow); in reality he has a strong sense of cooperation and love, which needs only an infusion of self-confidence to be awakened. In the 1890s many argued that to secure a political revolution a coalition of Farmers and Workers was needed.[16]
The 1890 editorial cartoon to the right shows President Benjamin Harrison wearing improvised tin armor because he wanted a tariff on tin. Such images support the argument that the figure of a "tin man" was in use as political allegory in the 1890s. The man on the right is politician James G. Blaine.
The oil needed by the Tin Woodman had a political dimension at the time because Rockefeller's Standard Oil Company stood accused of being a monopoly (and in fact was later found guilty by the Supreme Court). In the 1902 stage adaptation, which is full of topical references that do not appear either in the novel or in any of the film adaptations (unless they are satirical), the Tin Woodman wonders what he would do if he ran out of oil. "You wouldn't be as badly off as John D. Rockefeller," the Scarecrow responds, "He'd lose six thousand dollars a minute if that happened."[17]
References[edit]
Jump up ^ L. Frank Baum, Michael Patrick Hearn, The Annotated Wizard of Oz, p 141, ISBN 0-517-50086-8
Jump up ^ L. Frank Baum, Michael Patrick Hearn, The Annotated Wizard of Oz, p 152, ISBN 0-517-50086-8
Jump up ^ L. Frank Baum, Michael Patrick Hearn, The Annotated Wizard of Oz, p 38, ISBN 0-517-50086-8
Jump up ^ The Shadow Dragons
Jump up ^ "(#618) "Where Bluebirds Fly"". The Futon Critic. Retrieved April 23, 2017.
Jump up ^ "Wizard of Oz and Buddy Ebsen". snopes.com. Retrieved September 9, 2012.
Jump up ^ MythBusters (2005 season)#Episode SP7 – "Hollywood on Trial"
Jump up ^ "Oz lion costume goes under hammer". BBC News. December 1, 2006. Retrieved June 29, 2011.
Jump up ^ "The Witness". The Witness. 2011-12-22. Retrieved 2014-08-23.
Jump up ^ Vancouver Film School (2007-08-31). "After Oz - Vancouver Film School (VFS)". YouTube. Retrieved 2014-08-23.
Jump up ^ "whitestonemotionpictures.com". whitestonemotionpictures.com. Retrieved 2014-08-23.
Jump up ^ Allport, Lee (8 March 2013). "Oz the Great and Powerful: A Prequel at Its Best". Retrieved 10 March 2013. There are other interesting "that explains it" moments as well. We get up close and personal with The Cowardly Lion and find out what spooked him into being afraid of his own shadow. We get to know the Tin Man's father and the creators of the Scarecrow and learn more about Munchkinland.
Jump up ^ Zoe Beery, "The Tin Man of Oz Gets a Refit in 'The Woodsman'", The Village Voice, May 24, 2016.
Jump up ^ Ranjit S. Dighe, ed. The Historian's Wizard of Oz: Reading L. Frank Baum's Classic as a Political and Monetary Allegory (2002)
Jump up ^ Archie Green, Tin Men (2006)
Jump up ^ Gretchen Ritter, "Silver slippers and a golden cap: L. Frank Baum's The Wonderful Wizard of Oz and historical memory in American politics" Journal of American Studies (August 1997) vol. 31, no. 2, 171-203.
Jump up ^ Swartz, Oz p 34
Clanton, Gene. Populism: The Humane Preference in America, 1890-1900 (1991)
Culver, Stuart. "Growing Up in Oz." American Literary History 4 (1992) 607-28. in JSTOR
Culver, Stuart. "What Manikins Want: The Wonderful Wizard of Oz and The Art of Decorating Dry Goods Windows and Interiors", Representations, 21 (1988) 97-116.
Dighe, Ranjit S. ed. The Historian's Wizard of Oz: Reading L. Frank Baum's Classic as a Political and Monetary Allegory (2002)
Erisman, Fred. "L. Frank Baum and the Progressive Dilemma" in American Quarterly Vol. 20, No. 3 (Autumn, 1968), pp. 616-623 online at JSTOR
Gardner, Todd. "Responses to Littlefield" (2004), online
Geer, John G. and Thomas R. Rochon, "William Jennings Bryan on the Yellow Brick Road," Journal of American Culture (Winter, 1993)
Green, Archie. Tin Men (Urbana: University of Illinois Press, 2002). on the history of images of tin men in European and American illustrations
Hearn, Michael Patrick (ed). The Annotated Wizard of Oz. (2000, 1973)
Jensen, Richard. The Winning of the Midwest: Social and Political Conflict, 1888-1896 (1971), ch. 10.
Karp, Andrew. Utopian Tension in L. Frank Baum's Oz in Utopian Studies, 1998
Littlefield, Henry M. "The Wizard of Oz: Parable on Populism" American Quarterly Vol. 16, No. 1 (Spring, 1964), pp. 47-58 in JSTOR
Nesbet, Anne. "In Borrowed Balloons: The Wizard of Oz and the History of Soviet Aviation" in The Slavic and East European Journal> Vol. 45, No. 1 (Spring, 2001), pp. 80-95 online at JSTOR
Riley, Michael O. (1997) Oz and Beyond: The Fantasy World of L. Frank Baum. University of Kansas Press ISBN 0-7006-0832-X
Ritter, Gretchen. Goldbugs and Greenbacks: The Anti-Monopoly Tradition and the Politics of Finance in America (1997)
Ritter, Gretchen. "Silver slippers and a golden cap: L. Frank Baum's The Wonderful Wizard of Oz and historical memory in American politics." Journal of American Studies (August 1997) vol. 31, no. 2, 171-203.
Rockoff, Hugh. "The 'Wizard of Oz' as a Monetary Allegory," Journal of Political Economy 98 (1990): 739-60 online at JSTOR
Swartz, Mark Evan. Oz Before the Rainbow: L. Frank Baum's "The Wonderful Wizard of Oz" on Stage and Screen to 1939 (2000)
Velde, Francois R. "Following the Yellow Brick Road: How the United States Adopted the Gold Standard" Economic Perspectives. Volume: 26. Issue: 2. 2002. also online here
Ziaukas, Tim. "100 Years of Oz: Baum's 'Wizard of Oz' as Gilded Age Public Relations" in Public Relations Quarterly, Fall 1998
[show]
v
t
e
The Wonderful Wizard of Oz
Canonical books
L. Frank Baum
The Wonderful Wizard of Oz (1900)
The Marvelous Land of Oz (1904)
Ozma of Oz (1907)
Dorothy and the Wizard in Oz (1908)
The Road to Oz (1909)
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The Patchwork Girl of Oz (1913)
Tik-Tok of Oz (1914)
The Scarecrow of Oz (1915)
Rinkitink in Oz (1916)
The Lost Princess of Oz (1917)
The Tin Woodman of Oz (1918)
The Magic of Oz (1919)
Glinda of Oz (1920)
Ruth Plumly
Thompson
The Royal Book of Oz (1921)
Kabumpo in Oz (1922)
The Cowardly Lion of Oz (1923)
Grampa in Oz (1924)
The Lost King of Oz (1925)
The Hungry Tiger of Oz (1926)
The Gnome King of Oz (1927)
The Giant Horse of Oz (1928)
Jack Pumpkinhead of Oz (1929)
The Yellow Knight of Oz (1930)
Pirates in Oz (1931)
The Purple Prince of Oz (1932)
Ojo in Oz (1933)
Speedy in Oz (1934)
The Wishing Horse of Oz (1935)
Captain Salt in Oz (1936)
Handy Mandy in Oz (1937)
The Silver Princess in Oz (1938)
Ozoplaning with the Wizard of Oz (1939)
Others
The Wonder City of Oz (1940)
The Scalawagons of Oz (1941)
Lucky Bucky in Oz (1942)
The Magical Mimics in Oz (1946)
The Shaggy Man of Oz (1949)
The Hidden Valley of Oz (1951)
Merry Go Round in Oz (1963)
Yankee in Oz (1972)
The Enchanted Island of Oz (1976)
The Forbidden Fountain of Oz (1980)
The Ozmapolitan of Oz (1986)
The Wicked Witch of Oz (1993)
The Giant Garden of Oz (1993)
The Runaway in Oz (1995)
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Alternate
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Other writers
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[show]
Adaptations and other derivative works
Films
The Fairylogue and Radio-Plays (1908)
The Wonderful Wizard of Oz (1910)
Dorothy and the Scarecrow in Oz (1910)
The Land of Oz (1910)
John Dough and the Cherub (1910)
The Patchwork Girl of Oz (1914)
The Magic Cloak of Oz (1914)
His Majesty, the Scarecrow of Oz (1914)
The Wizard of Oz (1925)
The Wizard of Oz (1933)
The Wizard of Oz (1939)
Return to Oz (1964)
The Wonderful Land of Oz (1969)
Ayşecik ve Sihirli Cüceler Rüyalar Ülkesinde (1971)
Journey Back to Oz (1974)
The Wonderful Wizard of Oz (1975)
The Wiz (1978)
The Wizard of Oz (1982)
Return to Oz (1985)
Dorothy Meets Ozma of Oz (1987)
The Dreamer of Oz: The L. Frank Baum Story (1990)
Lion of Oz (2000)
The Muppets' Wizard of Oz (2005)
Tom and Jerry and the Wizard of Oz (2011)
Dorothy and the Witches of Oz (2011)
After the Wizard (2011)
Oz the Great and Powerful (2013)
Legends of Oz: Dorothy's Return (2014)
Ozland (2014)
Guardians of Oz (2015)
Tom and Jerry: Back to Oz (2016)
Stage
The Wizard of Oz (1902)
The Woggle-Bug (1905)
The Tik-Tok Man of Oz (1913)
The Wizard of Oz (1942)
The Wiz (1974)
The Marvelous Land of Oz (1981)
The Wizard of Oz (1987)
The Wonderful Wizard of Oz (2000)
The Wizard of Oz (2011)
The Woodsman (2012)
Television
Tales of the Wizard of Oz (1961)
Off to See the Wizard (1967)
The Wonderful Wizard of Oz (1986)
The Wizard of Oz (1990)
The Oz Kids (1996)
Lost in Oz (2002)
Once Upon a Time (since 2011)
The Wiz Live! (2015)
Lost In Oz (2015)
Emerald City (2017)
Dorothy and the Wizard of Oz (2017)
Comics
Queer Visitors from the Marvelous Land of Oz (1904–05)
Adventures in Oz (1986–92)
The Enchanted Apples of Oz (1986)
Oz Squad (1991)
Lost Girls (1991–92)
Oz (1994)
Dorothy of Oz (2006)
The Wonderful Wizard of Oz (2009)
Video
games
The Wizard of Oz (1993)
The Wizard of Oz: Beyond the Yellow Brick Road (2008)
Emerald City Confidential (2009)
Parodies
The Wozard of Iz
Os Trapalhões e o Mágico de Oróz
The Wonderful Wizard of Ha's
Wizard of Odd
Reimagining
The Wizard of Mars (1965)
Hunter (1973)
Zardoz (1974)
Oz (1976)
The Number of the Beast (1980)
A Barnstormer in Oz (1982)
The Wizard of A.I.D.S. (1987)
The Wonderful Galaxy of Oz (1990)
Twister (1994)
The Dark Tower IV: Wizard and Glass (1997)
Tin Man (2007)
Dorothy Must Die (2014)
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The Wicked
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MÄR
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[show]
v
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Songs
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"Popular"
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"A Sentimental Man"
"Defying Gravity"
"No One Mourns the Wicked (Reprise)"
"Thank Goodness"
"Wonderful"
"I'm Not That Girl (Reprise)"
"No Good Deed"
"For Good"
Authority control
WorldCat Identities
VIAF: 314909573
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Tin_Woodman&oldid=838334123"
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Wonderful (Wicked song)

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