document_title: The Wizard of Oz (1939 film)

question_text: who played the scarecrow in the wizzard of oz

question_tokens: who played the scarecrow in the wizzard of oz

root

text: The Wizard of Oz (1939 film)

text: Plot[edit]

text: The film begins in Kansas, which is depicted in a sepia tone. Dorothy Gale lives with her dog Toto on the farm of her Aunt Em and Uncle Henry. Dorothy's dog gets in trouble with a mean neighbor, Miss Almira Gulch, when Toto bites her. However, Dorothy's family and the farmhands are all too busy to pay attention to her. Miss Gulch arrives with permission from the sheriff to have Toto euthanized. She takes him away, but he escapes and returns to Dorothy, who then decides to run away from home, fearing that Gulch will return.

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text: They meet Professor Marvel, a phony but kindly fortune teller, who realizes Dorothy has run away and tricks her via his crystal ball into believing that Aunt Em is ill so that she must return home. She races home just as a powerful tornado strikes. Unable to get into her family's storm cellar, she seeks safety in her bedroom. A wind-blown window sash hits her in the head, knocking her out. The house is picked up and sent spinning in the air by the twister. She awakens and looks outside the window, seeing the twister and various figures flying by in the storm, including an elderly lady rocking in a chair, several farm animals, two men rowing a boat, and Miss Gulch (still pedaling her bicycle), who transforms into a cackling witch flying on a broomstick.

text: The farmhouse crashes in Munchkinland in the Land of Oz, where the film changes to Technicolor. Glinda the Good Witch of the North and the Munchkins welcome her as their heroine, as the house has landed on and killed the Wicked Witch of the East, leaving only her stocking feet exposed. The Wicked Witch of the West arrives to claim her sister's ruby slippers, but Glinda transports them onto Dorothy's feet first. The Wicked Witch of the West swears revenge on Dorothy for her sister's death. Glinda tells Dorothy to follow the yellow brick road to the Emerald City, where the Wizard of Oz might be able to help her get back home.

text: On her way, Dorothy meets and befriends the Scarecrow, who wants a brain, the Tin Woodman, who desires a heart, and the Cowardly Lion, who is in need of courage. Dorothy invites each of them to accompany her. After  the Witch attempts to stop them several times, they finally reach the Emerald City. Inside, after being initially rejected, they are permitted to see the Wizard (who appears as a large head surrounded by fire). He agrees to grant their wishes when they bring him the Witch of the West's broomstick.

text: On their journey to the Witch's castle, the group passes through the Haunted Forest, while the Witch views their progress through a crystal ball. She sends her winged monkeys to harass Dorothy; they capture Dorothy and Toto. At the castle, the Witch receives a magical shock when she tries to get the slippers off Dorothy and then remembers that Dorothy must be dead before they can be removed. Toto escapes and leads her three friends to the castle. After ambushing three Winkie guards, they march inside wearing the stolen uniforms and free her, but the Witch discovers them and traps them. However, the Scarecrow uses the Tin Man's axe to cut a rope nearby which sends a gigantic chandelier swinging overhead and down onto The Witch's soldiers, knocking them to the floor and the quartet then attempt to escape. The Witch and her guards chase after them through the castle, across battlements and finally surround them. When the Witch sets fire to the Scarecrow, Dorothy splashes a bucket of water at him to extinguish the flames but inadvertently hits the Witch causing her to melt away. The guards rejoice that she is dead and give Dorothy the charred broomstick in gratitude.

text: Back at the Emerald City, the Wizard delays granting their requests. Then Toto pulls back a curtain and exposes the "Wizard" as a normal middle-aged man who has been projecting the fearsome image; he denies Dorothy's accusation that he is a bad man, but admits to being a humbug. He then gives the Scarecrow a diploma, the Lion a medal, and the Tin Man a ticking heart-shaped watch, granting their wishes and convincing them that they have received what they sought. He then prepares to launch his hot air balloon to take Dorothy home, but Toto chases a cat, Dorothy follows, and the balloon leaves without them. Suddenly, Glinda returns and tells her that she can still return home by using the Ruby Slippers. Following Glinda's instructions, Dorothy taps her heels together three times and repeats, "There's no place like home". Dorothy wakes up in her home in Kansas, surrounded by her family, the farmhands, Professor Marvel and Toto. Though her family and friends dismiss her adventure as a dream, Dorothy insists that it was all real, and that there is no place like home.

text: Cast[edit]

text:
Judy Garland as Dorothy Gale
Frank Morgan as Professor Marvel/The Wizard/Doorman/Cabbie/Guard
Ray Bolger as Hunk/Scarecrow
Jack Haley as Hickory/Tin Man
Bert Lahr as Zeke/Cowardly Lion
Billie Burke as Glinda the Good Witch of the North
Margaret Hamilton as Miss Almira Gulch/The Wicked Witch of the West
Clara Blandick as Auntie Em
Charley Grapewin as Uncle Henry
Pat Walshe as Nikko (the Winged Monkey King)
Terry as Toto (credited as Toto)
Mitchell Lewis as the Winkie Guard Captain (credited only in the IMAX version)
Adriana Caselotti as the voice of Juliet in the Tinman's song "If I only had a heart" (uncredited).[13]

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text: Munchkins (uncredited)[edit]

text:
Charlie Becker as Munchkin Mayor
Meinhardt Raabe as Munchkin Coroner
Jakob "Jackie" Gerlich as Lollipop Guild Member
Jerry Maren as Lollipop Guild Member
Harry Doll Earles as Lollipop Guild Member
Billy Curtis as Braggart Munchkin
Harry Monty as Soldier/Winged Monkey
Mickey Carroll as Fiddler/Town Crier/Soldier
Karl Slover as Lead trumpeter/Soldier/"Sleepyhead"/Villager
Olga C. Nardone as the Littlest Lullaby League
Margaret Pellegrini as "Sleepyhead"
Ruth Duccini as a Munchkin Villager
The Doll Family as Munchkin Villagers
Singer's Midgets as Munchkins
William H. O'Docharty as Munchkin Carriage Footman
Ardith Dondanville as a background munchkin child[14][15]

text: Production[edit]

text: Development and pre-production[edit]

text: Development began when Walt Disney's Snow White and the Seven Dwarfs (1937) showed that films adapted from popular children's stories and fairytale folklore could be successful.[16][17] In January 1938, Metro-Goldwyn-Mayer bought the rights to L. Frank Baum’s hugely popular novel from Samuel Goldwyn, who had toyed with the idea of making the film as a vehicle for Eddie Cantor, who was under contract to the Goldwyn studios and whom Goldwyn wanted to cast as the Scarecrow.[17]

text: The script went through a number of writers and revisions before the final shooting.[18] Mervyn LeRoy's assistant William H. Cannon had submitted a brief four-page outline.[18] Because recent fantasy films had not fared well, he recommended that the magical elements of the story be toned down or eliminated. In his outline, the Scarecrow was a man so stupid that the only employment open to him was literally scaring crows from cornfields, and the Tin Woodman was a criminal so heartless he was sentenced to be placed in a tin suit for eternity; this torture softened him into someone gentle and kind.[18] His vision was similar to Larry Semon's 1925 film adaptation of the story, in which the magical element is absent.

text: After that, LeRoy hired screenwriter Herman J. Mankiewicz, who soon delivered a 17-page draft of the Kansas scenes, and a few weeks later, a further 56 pages. Noel Langley and poet Ogden Nash were also hired to write separate versions of the story. None of these three knew about the others, and this was not an uncommon procedure. Nash delivered a four-page outline, Langley turned in a 43-page treatment and a full film script. He[who?] turned in three more, this time incorporating the songs that had been written by Harold Arlen and Yip Harburg. Florence Ryerson and Edgar Allan Woolf submitted a script and were brought on board to touch up the writing. They would be responsible for making sure the story stayed true to the Baum book. However, producer Arthur Freed was unhappy with their work and reassigned it to Langley.[19] During filming, Victor Fleming and John Lee Mahin revised the script further, adding and cutting some scenes. In addition, Jack Haley and Bert Lahr are known to have written some of their own dialogue for the Kansas sequence.

text: The final draft of the script was completed on October 8, 1938, following numerous rewrites.[20] All in all, it was a mish-mash of many creative minds, but Langley, Ryerson, and Woolf got the film credits. Along with the contributors already mentioned, others who assisted with the adaptation without receiving credit include: Irving Brecher, Herbert Fields, Arthur Freed, Yip Harburg, Samuel Hoffenstein, Jack Mintz, Sid Silvers, Richard Thorpe, Cukor and Vidor.[17]

text: In addition, songwriter Harburg's son (and biographer) Ernie Harburg reported:[21]

text:
“

So anyhow, Yip also wrote all the dialogue in that time and the setup to the songs and he also wrote the part where they give out the heart, the brains, and the nerve, because he was the final script editor. And he – there was eleven screenwriters on that – and he pulled the whole thing together, wrote his own lines and gave the thing a coherence and unity which made it a work of art. But he doesn't get credit for that. He gets lyrics by E. Y. Harburg, you see. But nevertheless, he put his influence on the thing.

”

tag: table

text: The original producers thought that a 1939 audience was too sophisticated to accept Oz as a straight-ahead fantasy; therefore, it was reconceived as a lengthy, elaborate dream sequence. Because of a perceived need to attract a youthful audience through appealing to modern fads and styles, the score had featured a song called "The Jitterbug", and the script had featured a scene with a series of musical contests. A spoiled, selfish princess in Oz had outlawed all forms of music except classical and operetta, and went up against Dorothy in a singing contest in which her swing style enchanted listeners and won the grand prize. This part was initially written for Betty Jaynes.[22] The plan was later dropped.

text: Another scene, which was removed before final script approval and never filmed, was a concluding scene back in Kansas after Dorothy's return. Hunk (the Kansan counterpart to the Scarecrow) is leaving for agricultural college and extracts a promise from Dorothy to write to him. The implication of the scene is that romance will eventually develop between the two, which also may have been intended as an explanation for Dorothy's partiality for the Scarecrow over her other two companions. This plot idea was never totally dropped, but is especially noticeable in the final script when Dorothy, just before she is to leave Oz, tells the Scarecrow, "I think I'll miss you most of all."[23]

text: In his book The Wonderful Wizard of Oz, Baum describes Kansas as being "in shades of gray". Further, Dorothy lived inside a farmhouse which had its paint blistered and washed away by the weather, giving it an air of grayness. The house and property were situated in the middle of a sweeping prairie where the grass was burnt gray by harsh sun. Aunt Em and Uncle Henry were "gray with age". Effectively, the use of monochrome sepia tones for the Kansas sequences was a stylistic choice that evoked the dull and gray countryside.[citation needed] Much attention was given to the use of color in the production, with the MGM production crew favoring some hues over others. Consequently, it took the studio's art department almost a week to settle on the final shade of yellow used for the yellow brick road.[24]

text: Casting[edit]

text: LeRoy had always insisted that he wanted to cast Judy Garland to play Dorothy from the start; however, evidence suggests that negotiations occurred early in pre-production for Shirley Temple to be cast as Dorothy, on loan from 20th Century Fox. A persistent rumor also existed that Fox, in turn, was promised Clark Gable and Jean Harlow as a loan from MGM. The tale is almost certainly untrue, as Harlow died in 1937, before MGM had even purchased the rights to the story. Despite this, the story appears in many film biographies (including Temple's own autobiography). The documentary The Wonderful Wizard of Oz: The Making of a Movie Classic states that Mervyn LeRoy was under pressure to cast Temple, then the most popular child star, but at an unofficial audition, MGM musical mainstay Roger Edens listened to her sing and felt that an actress with a different style was needed; a 50th anniversary documentary for the film suggested that Temple, then 10-years-old, was slightly too young for the part. Newsreel footage is included in which Temple wisecracks, "There's no place like home", suggesting that she was being considered for the part at that time.[25] A possibility is that this consideration did indeed take place, but that Gable and Harlow were not part of the proposed deal.

text: Actress Deanna Durbin, who was under contract to Universal Studios, was also considered for the part of Dorothy. Durbin, at the time, far exceeded Garland in film experience and fan base and both had co-starred in a 1936 two-reeler titled Every Sunday. The film was most notable for exhibiting Durbin's operatic style of singing against Garland's jazzier style. Durbin was possibly passed over once it was decided to bring on Jaynes, also an operatic singer, to rival Garland's jazz in the aforementioned discarded subplot of the film.

text: Ray Bolger was originally cast as the Tin Man and Buddy Ebsen was to play the Scarecrow.[20] Bolger, however, longed to play the Scarecrow, as his childhood idol Fred Stone had done on stage in 1902; with that very performance, Stone had inspired him to become a vaudevillian in the first place. Now unhappy with his role as the Tin Man (reportedly claiming, "I'm not a tin performer; I'm fluid"), Bolger convinced producer Mervyn LeRoy to recast him in the part he so desired.[26] Ebsen did not object; after going over the basics of the Scarecrow's distinctive gait with Bolger (as a professional dancer, Ebsen had been cast because the studio was confident he would be up to the task of replicating the famous "wobbly-walk" of Stone's Scarecrow), he recorded all of his songs, went through all the rehearsals as the Tin Man and began filming with the rest of the cast.[27]

text: Bert Lahr was signed for the Cowardly Lion on July 25, 1938; the next month, Charles Grapewin was cast as Uncle Henry on August 12.

text: W. C. Fields was originally chosen for the role of the Wizard, a role turned down by Ed Wynn as he thought the part was too small, but the studio ran out of patience after protracted haggling over Fields' fee; instead, another contract player, Frank Morgan, was cast on September 22.

text: An extensive talent search produced over a hundred little people to play Munchkins; this meant that most of the film's Oz sequences would have to already be shot before work on the Munchkinland sequence could begin. According to Munchkin actor Jerry Maren, the little people were each paid over $125 a week (equivalent to $2,200 today). Meinhardt Raabe, who played the coroner, revealed in the 1990 documentary The Making of the Wizard of Oz that the MGM costume and wardrobe department, under the direction of designer Adrian, had to design over 100 costumes for the Munchkin sequences. They then had to photograph and catalog each Munchkin in his or her costume so that they could correctly apply the same costume and makeup each day of production.

text: Gale Sondergaard was originally cast as the Wicked Witch. She became unhappy when the witch's persona shifted from sly and glamorous (thought to emulate the wicked queen in Disney's Snow White and the Seven Dwarfs) into the familiar "ugly hag". She turned down the role and was replaced on October 10, 1938, just three days before filming started, by MGM contract player Margaret Hamilton. Sondergaard said in an interview for a bonus feature on the DVD that she had no regrets about turning down the part, and would go on to play a glamorous villain in Fox's version of Maurice Maeterlinck's The Blue Bird in 1940; Margaret Hamilton played a role remarkably similar to the Wicked Witch in the Judy Garland film Babes in Arms (1939).

text: According to Aljean Harmetz, the "gone-to-seed" coat worn by Morgan as the wizard was selected from a rack of coats purchased from a second-hand shop. According to legend, Morgan later discovered a label in the coat indicating it had once belonged to Baum, that Baum's widow confirmed this, and that the coat was eventually presented to her. But Baum biographer Michael Patrick Hearn says the Baum family denies ever seeing the coat or knowing of the story; Hamilton considered it a concocted studio rumor.[28]

text: Filming[edit]

text: Richard Thorpe as director[edit]

text: Filming commenced October 13, 1938, on the MGM lot in Culver City, California, under the direction of Richard Thorpe (replacing original director Norman Taurog, who filmed only a few early Technicolor tests and was then reassigned). Thorpe initially shot about two weeks of footage (nine days in total) involving Dorothy's first encounter with the Scarecrow, as well as a number of sequences in the Wicked Witch's castle, such as Dorothy's rescue (which, though unreleased, comprises the only footage of Ebsen's Tin Man).

text: Ebsen replaced by Haley[edit]

text: According to most sources, ten days into the shoot, Ebsen suffered a reaction to the aluminum powder makeup he wore. He was hospitalized in critical condition, and subsequently was forced to leave the project; in a later interview (included on the 2005 DVD release of The Wizard of Oz), he recalled the studio heads appreciated the seriousness of his illness only after seeing him in the hospital. Filming halted while a replacement for him was found. No full footage of him as the Tin Man has ever been released – only photographs taken during filming and makeup test photos. His replacement, Jack Haley, simply assumed he had been fired.[29] Author and screen-writer George MacDonald Fraser offers an alternative story, told to him by Burt Lancaster's producing partner, Jim Hill, that Ebsen had refused to be painted silver and was fired.[30]

text: George Cukor's brief stint[edit]

text: LeRoy, after reviewing the footage and feeling Thorpe was rushing the production, adversely affecting the actors' performances, had Thorpe replaced. During reorganization on the production, George Cukor temporarily took over, under LeRoy's guidance. Initially, the studio had made Garland wear a blond wig and heavy "baby-doll" makeup, and she played Dorothy in an exaggerated fashion; now, Cukor changed Garland's and Hamilton's makeup and costumes, and told Garland to "be herself". This meant that all the scenes Garland and Hamilton had already completed had to be discarded and reshot. Cukor also suggested that the studio cast Jack Haley, on loan from Fox, as the Tin Man. To keep down on production costs, Haley only rerecorded "If I Only Had a Heart" and solo lines during "The Jitterbug" and "If I Only Had the Nerve"; as such, Ebsen's voice can still be heard in the remaining songs featuring the Tin Man in group vocals. The makeup used for Haley was quietly changed to an aluminum paste, with a layer of clown white greasepaint underneath to protect his skin; although it did not have the same dire effect on Haley, he did at one point suffer an eye infection from it.[citation needed]

text: In addition, Bolger's original recording of "If I Only Had a Brain" had been far more sedate compared to the version heard in the film; during this time, Cukor and LeRoy decided that a more energetic rendition would better suit Dorothy's initial meeting with the Scarecrow (initially, it was to contrast with his lively manner in Thorpe's footage), and was rerecorded as such. At first thought to be lost for over seven decades, a recording of this original version was rediscovered in 2009.[31]

text: Victor Fleming, the main director[edit]

text: Cukor did not actually shoot any scenes for the film, merely acting as something of a "creative advisor" to the troubled production, and, because of his prior commitment to direct Gone with the Wind, he left on November 3, 1938, when Victor Fleming assumed directorial responsibility. As director, Fleming chose not to shift the film from Cukor's creative realignment, as producer LeRoy had already pronounced his satisfaction with the new course the film was taking.

text: Production on the bulk of the Technicolor sequences was a long and exhausting process that ran for over six months, from October 1938 to March 1939. Most of the cast worked six days a week and had to arrive as early as 4:00 a.m. to be fitted with makeup and costumes, and often did not leave until 7 pm or later. Cumbersome makeup and costumes were made even more uncomfortable by the daylight-bright lighting the early Technicolor process required, which could heat the set to over 100 °F (38 °C). Bolger later said that the frightening nature of the costumes prevented most of the Oz principals from eating in the studio commissary;[32] the toxicity of Hamilton's copper-based makeup forced her to eat a liquid diet on shoot days.[33] It took as many as twelve takes to have Toto run alongside the actors as they skipped down the yellow brick road.

text: All of the Oz sequences were filmed in three-strip Technicolor.[17][18] The opening and closing credits, as well as the Kansas sequences, were filmed in black and white and colored in a sepia-tone process.[17] Sepia-toned film was also used in the scene where Aunt Em appears in the Wicked Witch's crystal ball.

text: In Hamilton's exit from Munchkinland, a concealed elevator was arranged to lower her below stage as fire and smoke erupted to dramatize and conceal her exit. The first take ran well but in the second take the flames did not go out in time. The flames set fire to her green, copper-based face paint, causing third-degree burns on her hands and face. She spent three months healing before returning to work[34].

text: King Vidor's finishing work as director[edit]

text: On February 12, 1939, Fleming hastily replaced Cukor in directing Gone with the Wind; the next day, King Vidor was assigned as director by the studio to finish the filming of The Wizard of Oz (mainly the sepia-toned Kansas sequences, including Garland's singing of "Over the Rainbow" and the tornado). In later years, when the film became firmly established as a classic, Vidor chose not to take public credit for his contribution until after the death of his friend Fleming in 1949.

text: Post-production[edit]

text: Principal photography concluded with the Kansas sequences on March 16, 1939; nonetheless, reshoots and pick-up shots were filmed throughout April and May and into June, under the direction of producer LeRoy. After the deletion of the "Over the Rainbow" reprise during subsequent test screenings in early June, Garland had to be brought back one more time to reshoot the "Auntie Em, I'm frightened!" scene without the song; the footage of Blandick's Aunt Em, as shot by Vidor, had already been set aside for rear-projection work, and was simply reused.

text: After Hamilton's torturous experience with the Munchkinland elevator, she refused to do the pick-ups for the scene in which she flies on a broomstick that billows smoke, so LeRoy chose to have stand-in Betty Danko perform the scene, instead; as a result, Danko was severely injured doing the scene due to a malfunction in the smoke mechanism.[35]

text: At this point, the film began a long arduous post-production. Herbert Stothart had to compose the film's background score, while A. Arnold Gillespie had to perfect the various special effects that the film required, including many of the rear projection shots. The MGM art department also had to create the various matte paintings for the background of many of the scenes.

text: One significant innovation planned for the film was the use of stencil printing for the transition to Technicolor. Each frame was to be hand-tinted to maintain the sepia tone; however, because this was too expensive and labor-intensive, it was abandoned and MGM used a simpler and less expensive variation of the process. During the reshoots in May, the inside of the farm house was painted sepia, and when Dorothy opens the door, it is not Garland, but her stand-in, Bobbie Koshay, wearing a sepia gingham dress, who then backs out of frame; once the camera moves through the door, Garland steps back into frame in her bright blue gingham dress (as noted in DVD extras), and the sepia-painted door briefly tints her with the same color before she emerges from the house's shadow, into the bright glare of the Technicolor lighting. This also meant that the reshoots provided the first proper shot of Munchkinland; if one looks carefully, the brief cut to Dorothy looking around outside the house bisects a single long shot, from the inside of the doorway to the pan-around that finally ends in a reverse-angle as the ruins of the house are seen behind Dorothy as she comes to a stop at the foot of the small bridge.

text: Test screenings of the film began on June 5, 1939.[36] Oz initially ran nearly two hours long. LeRoy and Fleming knew that at least 15 minutes needed to be deleted to get the film down to a manageable running time; the average film in 1939 ran for just about 90 minutes. Three sneak previews in Santa Barbara, Pomona and San Luis Obispo, California, helped guide LeRoy and Fleming in the cutting. Among the many cuts were "The Jitterbug" number, the Scarecrow's elaborate dance sequence following "If I Only Had a Brain", reprises of "Over the Rainbow" and "Ding-Dong! The Witch Is Dead", and a number of smaller dialogue sequences. This left the final, mostly serious portion of the film with no songs, only the dramatic underscoring.

text: One song that was almost deleted was "Over the Rainbow". MGM had felt that it made the Kansas sequence too long, as well as being far over the heads of the target audience of children. The studio also thought that it was degrading for Garland to sing in a barnyard. LeRoy, uncredited associate producer Arthur Freed and director Fleming fought to keep it in, and they all eventually won. The song went on to win the Academy Award for Best Song of the Year, and came to be identified so strongly with Garland herself that she made it her theme song.

text: After the preview in San Luis Obispo in early July, the film was officially released in August 1939 at its current 101-minute running time.

text: Music[edit]

text: The film is widely noted for its musical selections and soundtrack. The music was composed by Harold Arlen, and the lyrics were written by Yip Harburg, both of whom won the Academy Award for Best Original Song for "Over the Rainbow". The song was ranked first in two lists: the AFI's 100 Years...100 Songs and the Recording Industry Association of America's "365 Songs of the Century".

text: MGM composer Herbert Stothart, a well-known Hollywood composer and songwriter, won the Academy Award for Best Original Score in recognition of his original score.

text: Georgie Stoll was associate conductor and screen credit was given to George Bassman, Murray Cutter, Ken Darby and Paul Marquardt for orchestral and vocal arrangements (as usual, Roger Edens was also heavily involved as an unbilled musical associate to Freed.)

text: The songs were recorded in the studio's scoring stage before filming. Several of the recordings were completed while Ebsen was still with the cast. Therefore, while he had to be dropped from the cast due to illness from the aluminum powder makeup, his singing voice remained in the soundtrack (as noted in the notes for the CD Deluxe Edition). In the group vocals of "We're Off to See the Wizard", his voice can be heard. Haley spoke with a distinct Boston accent, thus did not pronounce the r in wizard. By contrast, Ebsen was a Midwesterner, like Garland, and pronounced it. Haley rerecorded Ebsen's solo parts later.

text: Deleted songs[edit]

text: Some musical pieces filmed were deleted in the editing process.

text: The song "The Jitterbug", written in a swing style, was intended for the sequence in which the group is journeying to the Witch's castle. Due to time constraints, the song was cut from the final theatrical version. The film footage for the song has been lost, although silent home film footage of rehearsals for the number has survived. The sound recording for the song, however, is intact and was included in the two-CD Rhino Records deluxe edition of the film soundtrack, as well as on the VHS and DVD editions of the film. A reference to "The Jitterbug" remains in the film: the Witch remarks to her flying monkeys that they should have no trouble apprehending Dorothy and her friends because "I've sent a little insect on ahead to take the fight out of them."

text: Another musical number cut before release occurred right after the Wicked Witch of the West was melted and before Dorothy and her friends returned to the Wizard. This was a reprise of "Ding-Dong! The Witch Is Dead" (blended with "We're Off to See the Wizard" and "The Merry Old Land of Oz") with the lyrics altered to "Hail! Hail! The Witch is Dead!" This started with the Witch's guard saying "Hail to Dorothy! The Wicked Witch is dead!" and dissolved to a huge celebration of the citizens of the Emerald City singing the song as they accompany Dorothy and her friends to see the Wizard. Today, the film of this scene is also lost and only a few stills survive, along with a few seconds of footage used on several reissue trailers. The entire audio still exists and is included on the two-CD Rhino Record deluxe edition of the film soundtrack.[37]

text: In addition, a brief reprise of "Over the Rainbow" was intended to be sung by Garland while Dorothy is trapped in the Witch's castle, but it was cut because it was considered too emotionally intense. The original soundtrack recording still exists, however, and was included as an extra in all home media releases from 1993-onwards.[38]

text: Song list[edit]

text:
"Over the Rainbow" – Judy Garland as Dorothy Gale
Munchkinland Sequence:
"Come Out ..." – Billie Burke as Glinda, and the Munchkins
"It Really Was No Miracle" – Judy Garland as Dorothy, Billy Bletcher and the Munchkins
"We Thank You Very Sweetly" – Frank Cucksey and Joseph Koziel
"Ding-Dong! The Witch Is Dead" – Billie Burke as Glinda (speaking) and the Munchkins
"As Mayor of the Munchkin City"
"As Coroner, I Must Aver"
"Ding-Dong! The Witch Is Dead" (Reprise) – The Munchkins
"The Lullaby League"
"The Lollipop Guild"
"We Welcome You to Munchkinland" – The Munchkins
"Follow the Yellow Brick Road/You're Off to See the Wizard" – Judy Garland as Dorothy, and the Munchkins
"If I Only Had a Brain" – Ray Bolger as the Scarecrow, and Judy Garland as Dorothy
"We're Off to See the Wizard" – Judy Garland as Dorothy, and Ray Bolger as the Scarecrow
"If I Only Had a Heart" – Jack Haley as the Tin Man
"If I Only Had a Heart" (original recording)  – Buddy Ebsen as the Tin Man
"We're Off to See the Wizard" (Reprise 1) – Judy Garland as Dorothy, Ray Bolger as the Scarecrow, and Buddy Ebsen as the Tin Man
"If I Only Had the Nerve" – Bert Lahr as the Cowardly Lion, Jack Haley as the Tin Man, Ray Bolger as the Scarecrow, and Judy Garland as Dorothy
"We're Off to See the Wizard" (Reprise 2) – Judy Garland as Dorothy, Ray Bolger as the Scarecrow, Buddy Ebsen as the Tin Man, and Bert Lahr as the Cowardly Lion
"Optimistic Voices" – MGM Studio Chorus
"The Merry Old Land of Oz" – Frank Morgan as Cabby, Judy Garland as Dorothy, Ray Bolger as Scarecrow, Jack Haley as the Tin Man, Bert Lahr as the Cowardly Lion and the Emerald City townspeople
"If I Were King of the Forest" – Bert Lahr as the Cowardly Lion, Judy Garland as Dorothy, Ray Bolger as the Scarecrow and Jack Haley as the Tin Man
"The Jitterbug" – Although this song was removed from the final film, it is still available on some extended edition CDs.[39]

text: Underscoring[edit]

text: Extensive edits in the film's final cut removed vocals from the last portion of the film. However, the film was fully underscored, with instrumental snippets from the film's various leitmotifs throughout. There was also some recognizable popular music, including:

text:
Excerpts from Schumann's "The Happy Farmer", at several points early in the film, including the opening scene when Dorothy and Toto are hurrying home after their encounter with Miss Gulch, when Toto escapes from her, and when the house is "riding" the tornado.
An excerpt of Mendelssohn's "Opus 16, #2", when Toto escapes from the Witch's castle.
An excerpt of Mussorgsky's "Night on Bald Mountain", when Dorothy, the Scarecrow, the Tin Man, and the Cowardly Lion are trying to escape from the Witch's castle.
"In the Shade of the Old Apple Tree", when Dorothy and the Scarecrow discover the anthropomorphic apple trees.
"Gaudeamus Igitur" during the Wizard's presentation of awards to the group.
"Home! Sweet Home!", in part of the underscore of the closing scene, at Dorothy's house in Kansas.

text: (The above list is excerpted from the liner notes on the Rhino Records collection.)

text: Release[edit]

text:
The film's first sneak preview was held in San Bernardino, California.[40]
The film was previewed in three test markets: on August 11, 1939, at Kenosha, Wisconsin and Cape Cod, Massachusetts,[41][42] and at the Strand Theatre in Oconomowoc, Wisconsin, on August 12.[43]

text: The Hollywood premiere was on August 15, 1939,[42] at Grauman's Chinese Theatre.[44] The New York City premiere, held at Loew's Capitol Theatre on August 17, 1939, was followed by a live performance with Garland and her frequent film co-star Mickey Rooney. They continued to perform there after each screening for a week, extended in Rooney's case for a second week and in Garland's to three (with Oz co-stars Ray Bolger and Bert Lahr replacing Rooney for the third and final week). The film opened nationwide on August 25, 1939.

text: Box office[edit]

text: According to MGM records, during the film's initial release, it earned $2,048,000 in the US and Canada and $969,000 in other countries throughout the world, resulting in total earnings of $3,017,000. While these were considerable earnings, the high production cost, in association with various distribution and other costs, meant the movie initially recorded a loss of $1,145,000 for the studio.[3] It did not show what MGM considered a profit until a 1949 re-release earned an additional $1.5 million (about $15 million today). However, for all the risks and cost that MGM undertook to produce the film, it was considered at least more successful than anyone thought it would be. According to Christopher Finch, author of the Judy Garland biography Rainbow: The Stormy Life of Judy Garland, "Fantasy is always a risk at the box office. The film had been enormously successful as a book, and it had also been a major stage hit, but previous attempts to bring it to the screen had been dismal failures." Finch also writes that after the success of the film, Garland signed a new contract with MGM giving her a substantial increase in salary, making her one of the top-ten box office stars in the United States.[45]

text: Reception[edit]

text: The film received much acclaim upon its release. Frank Nugent considered the film a "delightful piece of wonder-working which had the youngsters' eyes shining and brought a quietly amused gleam to the wiser ones of the oldsters. Not since Disney's Snow White and the Seven Dwarfs has anything quite so fantastic succeeded half so well."[46] Nugent had issues with some of the film's special effects, writing, "with the best of will and ingenuity, they cannot make a Munchkin or a Flying Monkey that will not still suggest, however vaguely, a Singer's Midget in a Jack Dawn masquerade. Nor can they, without a few betraying jolts and split-screen overlappings, bring down from the sky the great soap bubble in which Glinda rides and roll it smoothly into place." According to Nugent, "Judy Garland's Dorothy is a pert and fresh-faced miss with the wonder-lit eyes of a believer in fairy tales, but the Baum fantasy is at its best when the Scarecrow, the Tin Man, and the Lion are on the move."[46]

text: Writing in Variety, John C. Flinn predicted that the film was "likely to perform some record-breaking feats of box-office magic," noting, "Some of the scenic passages are so beautiful in design and composition as to stir audiences by their sheer unfoldment." He also called Garland "an appealing figure" and the musical numbers "gay and bright."[47]

text: Harrison's Reports wrote, "Even though some persons are not interested in pictures of this type, it is possible that they will be eager to see this picture just for its technical treatment. The performances are good, and the incidental music is of considerable aid. Pictures of this caliber bring credit to the industry."[48]

text: Film Daily wrote:

text: Leo the Lion is privileged to herald this one with his deepest roar—the one that comes from way down—for seldom if indeed ever has the screen been so successful in its approach to fantasy and extravaganza through flesh-and-blood... handsomely mounted fairy story in Technicolor, with its wealth of humor and homespun philosophy, its stimulus to the imagination, its procession of unforgettable settings, its studding of merry tunes should click solidly at the box-office.[49]

text: Not all reviews were positive. Some moviegoers felt that the 16-year-old Garland was slightly too old to play the little girl who Baum originally intended his Dorothy to be. Russell Maloney of The New Yorker wrote that the film displayed "no trace of imagination, good taste, or ingenuity" and declared it "a stinkeroo,"[50] while Otis Ferguson of The New Republic wrote, "It has dwarfs, music, Technicolor, freak characters, and Judy Garland. It can't be expected to have a sense of humor, as well - and as for the light touch of fantasy, it weighs like a pound of fruitcake soaking wet."[51] Still, the film placed seventh on Film Daily's year-end nationwide poll of 542 critics naming the best films of 1939.[52]

text: Legacy[edit]

text: Roger Ebert chose it as one of his Great Films, writing that "The Wizard of Oz has a wonderful surface of comedy and music, special effects and excitement, but we still watch it six decades later because its underlying story penetrates straight to the deepest insecurities of childhood, stirs them and then reassures them."[53]

text: Writer Salman Rushdie acknowledged "The Wizard of Oz was my very first literary influence" in his 2002 musings about the film.[54] He has written: "When I first saw The Wizard of Oz, it made a writer of me."[55] His first short story, written at the age of 10, was titled "Over the Rainbow".[55]

text: In a 2009 retrospective article about the film, San Francisco Chronicle film critic and author Mick LaSalle declared that the film's "entire Munchkinland sequence, from Dorothy's arrival in Oz to her departure on the yellow brick road, has to be one of the greatest in cinema history – a masterpiece of set design, costuming, choreography, music, lyrics, storytelling, and sheer imagination."[56]

text: On the film critic aggregator site Rotten Tomatoes, the film has an approval rating of 99% based on 109 reviews, with an average score of 9.4/10. The site's critical consensus reads, "An absolute masterpiece whose groundbreaking visuals and deft storytelling are still every bit as resonant, The Wizard of Oz is a must-see film for young and old."[57] At Metacritic, which assigns a normalized rating to reviews, the film received the maximum score of 100 out of 100, based on 4 reviews, indicating "universal acclaim",[58] which, as of August 2017, is matched only by five other films.

text: Re-releases[edit]

text: Although the 1949 reissue used sepia tone, as in the original release, beginning with the 1955 re-issue, and continuing until the film's 50th anniversary VHS release in 1989, the opening Kansas sequences were shown in black and white instead of the sepia tone as originally printed. (This includes television showings.)[59]

text: The MGM "Children's Matinees" series rereleased the film twice, in both 1970 and 1971.[60] It was for this release that the film received a G rating from the MPAA.

text: For the film's then-upcoming 60th anniversary, Warner Bros. Pictures released a "Special Edition" on November 6, 1998, digitally restored with remastered audio.

text: In 2002, the film had a very limited re-release in U.S. theaters, earning only $139,905.[61]

text: On September 23, 2009, the film was rereleased in select theaters for a one-night-only event in honor of its 70th anniversary and as a promotion for various new disc releases later in the month. An encore of this event was released in theaters on November 17, 2009.[62]

text: An IMAX 3D theatrical re-release played at 300 theaters in North America for one week only beginning September 20, 2013, as part of the film's 75th anniversary.[63] Warner Bros. spent $25 million on advertising. The studio hosted a premiere of the film's first IMAX 3D release on September 15, 2013, from the newly remodeled TCL Chinese Theatre (formerly Grauman's Chinese Theatre, the site of the film's Hollywood premiere) in Hollywood. It was the first to play at the new theater and served as the grand opening of Hollywood's first 3D IMAX screen. It was also shown as a special presentation at the 2013 Toronto International Film Festival.[64] This re-release grossed $5.6 million at the North American box office.[65]

text: In 2013, in preparation for its IMAX 3D release, the film was submitted again to the MPAA for re-classification. According to MPAA rules, a film that has been altered in any way from its original version must be submitted for re-classification, as the 3-D conversion fell within that guideline. Surprisingly, the 3D version received a PG rating for "Some scary moments", although no change was made to the film's original story content. The 2D version still retains its G rating.[66]

text: The film was rereleased on January 11 and 14, 2015, as part of the "TCM Presents" series by Turner Classic Movies.[67]

text: Television[edit]

text: The film was first shown on television on November 3, 1956, by CBS, as the last installment of the Ford Star Jubilee.[68]

text: Home media[edit]

text: The film was released multiple times for the home-video commercial market (on a limited scale) on Super 8 film (8 mm format) during the 1970s. These releases include an edited English version (roughly 10 minutes, and roughly 20 minutes), as well as edited Spanish versions of the classic. Also, a full commercial release of it was made on Super 8 (on multiple reels) that came out in the 1970s, as well, for the commercial market.[69]

text: The film was among the first videocassettes (on both VHS and Betamax format for the 1980 release) by MGM/CBS Home Video in 1980;[70] all current home video releases are by Warner Home Video (via current rights holder Turner Entertainment). The first LaserDisc release of it was in 1982, with two versions of a second (one from Turner and one from The Criterion Collection with a commentary track) for the 50th anniversary release in 1989, a third in 1991, a fourth in 1993, a fifth in 1995 and a sixth and final LaserDisc release on September 11, 1996.[71]

text: In addition to VHS (and later, LaserDisc), the film has been released multiple times during the 1980s on the Betamax format, beginning in 1980 simultaneously with the VHS release.[72]

text: The film was released for the first and only time on the CED format in 1982 by MGM/UA Home Video.[73]

text: Outside of the North American and European markets, the film has also been released multiple times on the Video CD format since the 1990s in Asia.[74]

text: The first DVD release was on March 26, 1997, by MGM/Turner and contained no special features or supplements. It was re-released by Warner Bros. for its 60th anniversary on October 19, 1999, with its soundtrack presented in a new 5.1 surround sound mix. The monochrome-to-color transition was more smoothly accomplished by digitally keeping the inside of the house in monochrome while Dorothy and the reveal of Munchkinland are in color.[clarification needed] The DVD also contained a behind-the-scenes documentary, The Wonderful Wizard of Oz: The Making of a Movie Classic, produced in 1990 and hosted by Angela Lansbury, which was originally shown on television immediately following the 1990 telecast of the film; it had been featured in the 1993 "Ultimate Oz" LaserDisc release. Outtakes, the deleted "Jitterbug" musical number, clips of pre-1939 Oz adaptations, trailers, newsreels, and a portrait gallery were also included, as well as two radio programs of the era publicizing the film.

text: In 2005, two DVD editions were released, both featuring a newly restored version of the film with an audio commentary and an isolated music and effects track. One of the two DVD releases was a "Two-Disc Special Edition", featuring production documentaries, trailers, various outtakes, newsreels, radio shows and still galleries. The other set, a "Three-Disc Collector's Edition", included these features, as well as the digitally restored 80th-anniversary edition of the 1925 feature-length silent film version of The Wizard of Oz, other silent Oz adaptations and a 1933 animated short version.

text: The film was released on Blu-ray on September 29, 2009, for its 70th anniversary in a four-disc "Ultimate Collector's Edition", including all the bonus features from the 2005 Collector's Edition DVD, new bonus features about Victor Fleming and the surviving Munchkins, the telefilm The Dreamer of Oz: The L. Frank Baum Story, and the miniseries MGM: When the Lion Roars. For this edition, Warner Bros. commissioned a new transfer at 8K resolution from the original negatives. The restoration job was given to Prime Focus World.[75] This restored version also features a lossless 5.1 Dolby TrueHD audio track.[76]

text: On December 1, 2009,[citation needed] three Blu-ray discs of the Ultimate Collector's Edition were repackaged as a less expensive "Emerald Edition", with an Emerald Edition four-disc DVD arriving the following week. A single-disc Blu-ray, containing the restored movie and all the extra features of the two-disc Special Edition DVD, also became available on March 16, 2010.[citation needed]

text: In 2013, the film was re-released on DVD, Blu-ray, Blu-ray 3D and UltraViolet for the 90th anniversary of Warner Bros. and as part of its 75th anniversary.[63][77]

text: Also, multiple special editions were released in celebration of the film's the 75th anniversary in 2013, exclusively by both Best Buy (a SteelBook of the 3D Blu-ray) and another version that came with a keepsake lunch bag released by Target stores.[78][79]

text: Awards and honors[edit]

text: Academy Awards[edit]

text:
Awards

Award

Date of ceremony

Category

Recipient

Outcome

Academy Awards[80]

February 29, 1940

Best Picture

Metro-Goldwyn-Mayer

Nominated

Best Cinematography, Color

Harold Rosson

Best Art Direction

Cedric Gibbons and William A. Horning

Best Effects, Special Effects

A. Arnold Gillespie and Douglas Shearer

Best Music, Original Score

Herbert Stothart

Won

Best Music, Original Song

"Over the Rainbow"Music by Harold Arlen; Lyrics by E.Y. Harburg

Academy Juvenile Award

Judy GarlandFor her outstanding performance as a screen juvenile during the past year. (She was jointly awarded for her performances in Babes in Arms and The Wizard of Oz).

Honorary

text: American Film Institute lists[edit]

text: The American Film Institute (AFI) has compiled various lists which include this film or elements thereof.

text:
AFI's 100 Years...100 Movies – No. 6
AFI's 100 Years...100 Thrills – No. 43
AFI's 100 Years...100 Heroes & Villains:
Wicked Witch of the West – No. 4 villain
AFI's 100 Years...100 Songs:
"Over the Rainbow" – No. 1
"Ding-Dong! The Witch Is Dead" – No. 82
AFI's 100 Years...100 Movie Quotes:
"Toto, I've a feeling we're not in Kansas anymore." (Dorothy Gale) – No. 4
"There's no place like home." (Dorothy) – No. 23
"I'll get you, my pretty – and your little dog, too!" (Wicked Witch of the West) – No. 99
AFI's Greatest Movie Musicals – No. 3
AFI's 100 Years...100 Cheers – No. 26
AFI's 100 Years...100 Movies (10th Anniversary Edition) – No. 10
AFI's 10 Top 10 – No. 1 Fantasy film[81]

text: Other honors[edit]

text:
1999: Rolling Stone's 100 Maverick Movies – No. 20.[82]
1999: Entertainment Weekly's 100 Greatest Films – No. 32.[83]
2000: The Village Voice's 100 Best Films of the 20th Century – No. 14.[84]
2002: Sight & Sound's Greatest Film Poll of Directors – No. 41.[85]
2005: Total Film's 100 Greatest Films – No. 83.[86]
2005: ranked among the top ten of the BFI list of the 50 films you should see by the age of 14.[87]
2007: Total Film's 23 Weirdest Films – No. 1.[88]
2007: The Observer ranked the film's songs and music at the top of its list of 50 greatest film soundtracks.[89]

text: Differences from the novel[edit]

text: Roughly 40 identifiable major differences exist between the original book and the MGM interpretation.[90][91]

text: Sequels and reinterpretations[edit]

text: The film was dramatized as a one-hour radio play on Lux Radio Theatre, which was broadcast on December 25, 1950, with Garland reprising her earlier role. In 1964, a one-hour animated cartoon called Return to Oz was shown as an afternoon weekend special on NBC.[citation needed] An official 1972 sequel, the animated Journey Back to Oz starring Liza Minnelli, daughter of Garland, was produced to commemorate the original film's 35th anniversary.[92]

text: In 1975, the stage show The Wiz premiered on Broadway. It was an African American version of The Wizard of Oz reworked for the stage. It starred Stephanie Mills and other Broadway stars and earned a number of Tony Awards. Its financing was handled by actor Geoffrey Holder. Its inspired revivals after it left the stage and an unsuccessful motion picture made in 1978, starring Diana Ross as Dorothy and Michael Jackson as the Scarecrow.[citation needed]

text: In 1985, Walt Disney Productions released the live-action fantasy film Return to Oz, which starred (and introduced) Fairuza Balk as a young Dorothy Gale.[93] Based loosely on The Marvelous Land of Oz (1904) and Ozma of Oz (1907), it fared rather poorly with critics who were unfamiliar with the Oz books and was not successful at the box office, although it has since become a popular cult film, with many considering it a more loyal and faithful adaptation of what L. Frank Baum envisioned.[94][95]

text: In 1995, Gregory Maguire published the novel Wicked: The Life and Times of the Wicked Witch of the West, which was adapted into the wildly successful Broadway musical Wicked. The story describes the life of the Wicked Witch of the West and other events prior to Dorothy's arrival.[citation needed]

text: For the film's 56th anniversary, a 1995 stage show also titled The Wizard of Oz was based upon it and the book by L. Frank Baum. It toured from 1995 to 2012, except for 2004.[citation needed]

text: In 2005, The Muppets Studio produced The Muppets' Wizard of Oz, a television film for ABC, starring Ashanti as Dorothy, Jeffrey Tambor as the Wizard, David Alan Grier as Uncle Henry, and Queen Latifah as Aunt Em. Kermit the Frog portrayed the Scarecrow, Gonzo portrayed the Tin Thing (Tin Man), Fozzie Bear portrayed the Lion and Miss Piggy portrayed all the Witches of the West, East, North and South.[citation needed]

text: In 2007, The Sci-Fi Channel released the three-part miniseries Tin Man, a science fiction continuation starring Zooey Deschanel as DG.

text: Andrew Lloyd Webber and Tim Rice wrote a stage musical of the same name, which opened in 2011 at the West End's London Palladium. It features all of the songs from the film plus new songs written by Lloyd Webber and Rice. Lloyd Webber also found Danielle Hope to play Dorothy on the reality show, Over the Rainbow. Another production opened in December 2012 at the Ed Mirvish Theatre in Toronto.[96] A reality TV show, also titled Over the Rainbow, found a Canadian girl, Danielle Wade, to play  Dorothy.[97][98] The Canadian production then began a North American tour in September 2013.[99] An Australian tour will begin at the Lyric Theatre, Queensland Performing Arts Centre in November 2017, followed by a season at the Capitol Theatre, Sydney beginning December 2017.[100]

text: An animated film called Tom and Jerry and the Wizard of Oz was released in 2011 by Warner Home Video, incorporating Tom and Jerry into the story as Dorothy's "protectors".[101] A sequel titled Tom and Jerry: Back to Oz was released on DVD on June 21, 2016.[102]

text: In 2013, Walt Disney Pictures released a spiritual prequel titled Oz the Great and Powerful. It was directed by Sam Raimi, and starred James Franco, Mila Kunis, Rachel Weisz and Michelle Williams. It was the second film based on Baum's Oz series to be produced by Disney, after Return to Oz. It was a commercial success and received a mixed critical reception.[103][104]

text: In 2014, now-defunct independent film company Clarius Entertainment released a big-budget animated musical film, Legends of Oz: Dorothy's Return,[105] which follows Dorothy's second trip to Oz. The film was a box office bomb and was received negatively by critics largely for its plot and unmemorable musical numbers.

text: Cultural impact[edit]

text: Regarding the original Baum storybook, it has been said that "The Wonderful Wizard of Oz is America's greatest and best-loved home grown fairytale. The first totally American fantasy for children, it is one of the most-read children's books ... and despite its many particularly American attributes, including a wizard from Omaha, The Wonderful Wizard of Oz has universal appeal."[106]

text: The film was one inductee of a group of 25 films that inaugurated in 1989 the National Film Registry list,[107][108] based on at least it being declared by the Library of Congress as the most viewed film on television syndication.[109] In June 2007, the film was listed on UNESCO's Memory of the World Register.[110] The film placed at number 86 on Bravo's 100 Scariest Movie Moments.[111] In 1977, Aljean Harmetz wrote The Making of The Wizard of Oz, a detailed description of the creation of the film based on interviews and research; it was updated in 1989.[112]

text: Ruby slippers[edit]

text: Because of their iconic stature,[113] the ruby slippers worn by Judy Garland in the film are now among the most treasured and valuable film memorabilia in movie history.[114] The silver slippers that Dorothy wore in the book series were changed to ruby to take advantage of the new Technicolor process. Adrian, MGM's chief costume designer, was responsible for the final design. There are five known pairs of the ruby slippers in existence. [115]

text: After filming, the slippers were stored among the studio's extensive collection of costumes and faded from attention. They were found in the basement of MGM's wardrobe department during preparations for a mammoth auction in 1970. One pair was the highlight of the auction, going for a then unheard of $15,000 to an anonymous buyer, who apparently donated them to the Smithsonian Institution in 1979. Of the four other pairs, one sold for $666,000 at auction in 2000, and another pair was stolen from the Judy Garland Museum in Grand Rapids, Minnesota and remains missing.[116]

text: Another, differently styled pair unused in the film was sold at auction with the rest of her collections by owner actress Debbie Reynolds for $510,000 (not including the buyer's premium) in June 2011.[117]

text: Impact upon LGBT culture[edit]


document_title: Alcohol licensing laws of the United Kingdom

question_text: what time can you purchase alcohol in england

text: History[edit]

text: In the mid-18th century, gin became extremely popular as it was much cheaper to buy than beer. This was known as the 'gin epidemic'. By 1740, six times more gin than beer was being produced, and of the 15,000 drinking establishments in London, half were gin-shops. The Gin Act 1736 imposed a prohibitively high duty on gin, but this caused rioting, and so the duty was gradually reduced and then abolished in 1742. The Gin Act 1751 was more successful: instead of a tax it restricted gin producers to selling only to licensed premises.

text: During the 19th century, licensing laws began to restrict the opening hours of premises. The Sunday Closing (Wales) Act 1881 required the closure of all public houses in Wales on Sundays.

text: After the outbreak of World War I the Defence of the Realm Act was passed by Parliament in 1914. One section of the Act concerned the hours pubs could sell alcohol, as it was believed that alcohol consumption would interfere with the war effort.[2] It restricted opening hours for licensed premises to luncheon (12:00 to 14:40) and supper (18:30 to 21:30). In the late 1980s the licensing laws in England and Wales became less restricted and allowed pubs to allow the consumption of alcohol on the premises from 11:00 until 23:00,[2] although nightclubs were allowed to stay open much later. Significantly revised rules were introduced in November 2005, when hour limits were scrapped, and pubs were allowed to apply for licences as permissive as "24 hours a day".[3] In practice, most pubs chose to apply for more restrictive licences.

text: Traditionally, the phrase "Last orders!" is still often used to announce the last opportunity to purchase drinks, typically ten or fifteen minutes in advance and is often announced via a bell. At the point when the bar will no longer serve drinks, the bar staff will announce "Time at the bar!", or "Time, gentlemen, please!" (again, either shouted or by use of a bell).

text: The wartime restrictions in Scotland were repealed in 1976. As a result, Scottish laws were generally less restrictive, with local authorities being allowed to determine opening hours. Most Scottish pubs now open until midnight, though this is not universal.

text: On-licence[edit]

text: On-licence describes an establishment where alcohol must be consumed at the point of sale, such as a pub, bar, nightclub or café.

text: The name derives from the distinction between types of licence which could be granted—a distinction now repealed in England and Wales, and repealed in Scotland in 2009.[needs update] In England and Wales, the magistrates would formerly grant either an "off" licence permitting the sale of intoxicating liquor for consumption only off the premises, or an "on" licence permitting sale for consumption on the premises—which permitted, to a limited extent, off sales too: many public houses were permitted off sales, to sell sealed alcoholic drinks (e.g., unopened bottles of wine) for consumption elsewhere. A restaurant licence was an on-licence with a restaurant condition attached. Until 2009, in Scotland the types of licence were Hotel, Public House, Restricted Hotel, Restaurant, Entertainment, Off-Sale, and Refreshment licences. In Northern Ireland, there are numerous types of licence.

text: Under the Licensing Act 2003 and the Licensing (Scotland) Act 2005, there is only one type of premises licence, though the conditions placed on each one will determine whether on sales or off sales (or both) are permitted.

text: The premises licence is granted to a person, and not to the establishment.Before the Licensing Act 2003 came into effect, there was a legal requirement to display the name of the licensee above the entrance to an on-licence location. The sign would typically say "NAME OF LANDLORD licensed for the sale of alcoholic beverages for consumption on the premises". Under the 2003 Act, that requirement has been repealed (though such signs are still often seen). Instead, the premises licence holder must ensure that the official summary of the licence (or a certified copy) is prominently displayed at the premises, as well as the name and position of any person nominated as the custodian of the summary premises licence.[4]

text: Off-licence[edit]

text: Off-licence (sometimes known as off-sales or informally offie) is a term used in the United Kingdom and Ireland for a shop licensed to sell alcoholic beverages for consumption off the premises, as opposed to a bar or public house which is licensed for consumption at the point of sale (on-licence). The term also applies to the licence granted to the establishment itself.

text: Off-licences typically are specialist shops, convenience stores, parts of supermarkets, or attached to bars and pubs. Prices are usually substantially lower than in bars or pubs.

text: In the United Kingdom, the "off-licence" status of a shop could once be used as a device to circumvent restrictive trading laws, particularly those concerning Sunday trading. Depending on local by-laws, shops might be either required to close at 12:00 once a week, or else not be allowed to trade in the evening. Shops with an off-licence made their hours similar to those of public houses, opening during lunch hours and from early evening to the mandatory closing time, usually 22:30 or 23:00. The Sunday Trading Act 1994 altered the situation somewhat.[how?]

text: Licensing law in Northern Ireland[edit]

text: In Northern Ireland, legislation is more restrictive than in Great Britain—a reaction to social problems at the beginning of the 20th century. Only a limited number of licences are available for pubs and off-licences; any new pub or off-licence wanting to sell alcohol must wait until an existing one surrenders its licence (known as the surrender principle).

text: Licences are granted and administered by the courts, not elected local authorities; the courts have no guidance to assist in the practical application of the law. A new licence is granted by the County Court and will only be granted on the surrender principle, and only if the court is satisfied that the existing number of licensed premises is not already adequate (the need principle). The transfer of a licence is a matter for the magistrates' courts.

text: There are currently twelve categories of premises that may be licensed to sell alcohol, amongst which are pubs, off-licences, and certain businesses where the sale of alcohol is ancillary to the main business.

text: Licensing law in Scotland[edit]

text: Scotland has had separate licensing laws dating back to the 18th century. The current legislation is the Licensing (Scotland) Act 2005, which replaced the Licensing (Scotland) Act 1976 on 1 September 2009.[5] The replaced licensing laws provided for seven types of liquor licence, and were administered by licensing boards, made up of councillors elected to the local authority. There were approximately 30 licensing boards in Scotland and each had its own distinct approach; for example, whilst there is a set "permitted hours" across Scotland, these were frequently extended in order to take account of early morning and late night trading, and each licensing board had its own views on what sort of extra hours a premises should be given.

text: As of 1 February 2008, Scotland entered a "transitional period" in the run-up to the commencement of new licensing legislation—the Licensing (Scotland) Act 2005. The 2005 Act is, in many respects, similar to the English Licensing Act 2003: it features the four English licensing objectives, but adds another: "protecting and improving public health". The Act creates one class of licence—the premises licence—and also introduces personal licences for those working in the trade. The administration continues to be carried out by licensing boards, but the Act has created new "Licensing Forums" in order to increase community involvement, and "Licensing Standards Officers" who have an information, mediation, and compliance role.[6]

text: The legislation in Scotland regarding the sale of alcohol is different from the rest of the UK and England in particular. The Alcohol etc. (Scotland) Act 2010 has amended the core hours during which stores and supermarkets can sell alcohol. Scotland currently restricts the purchase of alcohol to between the hours of 10:00 and 22:00.

text: One major change is that Sunday opening hours can be changed to match the rest of the UK, allowing sales from 10:00, rather than 12:30 with the 1976 Act.

text: Changes since 2005[edit]

text: On 10 July 2003 the Licensing Act 2003 was granted Royal Assent and replaced the previous licensing laws for England and Wales, regulated under several different Acts, with a single unified system covering a range of "regulated activities". Rules as to when establishments can open, for how long, and under what criteria are now not laid down in statute but are individual to the premises and are contained in the conditions on each premises licence. The powers of the 2003 Act came fully into force on 24 November 2005.

text: Permitted hours[edit]

text: Some long-standing traditions (indeed, legal requirements) have disappeared as a consequence. First, "permitted hours" gained a new meaning. Until the 2003 Act came into force on 24 November 2005,[7] permitted hours were a standard legal constraint: for example, serving alcohol after 23:00 meant that a licensing extension had to exist—either permanent (as for nightclubs, for example), or by special application from the licensee concerned for a particular occasion. There was also a customary general derogation permitting a modest extension on particular dates, such as New Year's Eve and some other Public Holidays. Licensees did not need to apply for these and could take advantage of them if they wished without any formality. Now, permitted hours are theoretically continuous: it is possible for a premises licence to be held which allows 24-hour opening, and indeed some do exist.

text: Most licensed premises do not go this far, but many applied for licences in 2005 that allowed them longer opening hours than before. However, as in the past, there is no obligation for licensees to use all the time permitted to them. Premises that still close (for commercial reasons) at 23:00 during most of the week may well have licences permitting them to remain open longer, perhaps for several hours. Staying open after 23:00 on the spur of the moment is therefore legal at such premises if the licensee decides to do so—perhaps because custom happens to be good. Of course, the service of alcohol must still cease when the actual licence closing time arrives. Only the holder of the comparatively rare true "24-hour" licence has complete freedom in this respect.

text: Drinking-up time[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2016) (Learn how and when to remove this template message)

text: The consumption of alcohol itself is not considered a "licensable activity" under the new Licensing Act. Therefore, "drinking-up time" (DUT) has no legal meaning and has disappeared. For many years ten minutes (and later extended to twenty minutes) was the legal dispensation which allowed the consumption of alcohol to continue after the official closing time, which in recent times meant that customers could still drink what they had already bought until 23:20, subject to the licensee's discretion. After that time consumption had to also stop.

text: With the end of standard permitted hours, this concession became irrelevant and there is no mention of DUT in the 2003 Act. Instead, applicants for premises licences can specify the maximum period (their "Opening Hours") for which they wish to allow their customers to stay after the time at which the sale of alcohol ends ("the terminal hour") within their Operating Schedule. Some licences do not specify opening hours at all, which allows an unspecified drinking up time, determined only by the licensee's discretion. In contrast, some licensees call for "last orders" twenty minutes (or more) before the end of the opening hours specified on their premises' licence.

text: Scotland[edit]

text: Licensing law in Scotland was overhauled by the Licensing (Scotland) Act 2005,[8] which came into force in September 2009 following a transition period starting in February 2008. The new system covers alcohol sales only, but otherwise is, in most particulars, identical to the system created in England and Wales by the Licensing Act 2003. There are a number of significant differences, such as a "duty to trade" and attempts to control the irresponsible sale of alcohol through curbs on price discounting and other promotions which may lead to excessive consumption.

text: Northern Ireland[edit]

text: Licensing proposals in Northern Ireland were first announced by the Northern Ireland Office in 2004, leading to a consultation in 2005,[9] again very similar to the Scottish and English Acts. The proposals triggered much initial opposition, even from some parts of the licensed trade.[10][11][12][13] These proposals are not currently proceeding.[14]

text: Under the proposed rules, all premises where regulated activities are carried out must be authorised by a premises licence. Where alcohol is sold the premises must have a designated premises supervisor, who himself must hold a personal licence. There is a parallel system for the registration of private clubs which sell alcohol to members, and which require a club registration certificate.

text: Serving after 23:00[edit]

text: Part of the changes since 2005 allow pubs to serve alcohol past 23:00; this particular part of the legislation was, and remains, very controversial due to the perceived increase in potential for binge drinking and the effects the change will have on social dynamics. However, the new law's defenders have claimed that the relatively early 23:00 closing time itself contributed to binge drinking, as patrons hurried to drink before closing time. Labour also claimed that the fixed closing time contributed to social disorder, as drunken pub patrons were forced into the street at the same time.[citation needed] Both the Conservative Party and Liberal Democrats unsuccessfully called for a delay in the implementation of this law.

text: Licensing policies[edit]

text: Each licensing authority must adopt a licensing policy, which gives guidance on when licences will be granted and the conditions and permitted hours likely to be imposed on a premises licence in various circumstances.

text: Licensable activities (England and Wales)[edit]

text: The Licensing Act 2003 defines "licensable activities" as:

text:
the retail sale of alcohol,
the supply of alcohol in clubs,
the provision of late night refreshment, and
the provision of regulated entertainment

text: In turn, "regulated entertainment" is defined as:

text:
a performance of a play,
an exhibition of a film,
an indoor sporting event,
a boxing or wrestling entertainment (both indoors and outdoors),
a performance of live music,
any playing of recorded music, or
a performance of dance
entertainment of a similar description to that falling in the previous three categories listed above.

text: There are many exemption categories and qualifications to the above definitions, particularly in respect of Regulated Entertainment and Late Night Refreshment. As a result of changes by the Live Music Act 2012, for example, live music in on-licensed premises is no longer a licensable activity between 08:00 and 23:00 hours before audiences of up to 200 people. Similarly performances of plays and of dance are not licensable before audiences of up to 500 people and indoor sporting events up to 1000 people. These changes, brought in from 2013, coupled with the Live Music Act in 2012, display a readiness by the Coalition Government to deregulate the prescriptive and sometimes confusing definitions of Regulated Entertainment stated above (although it should be noted that the Live Music Act was a Private Members’ Bill sponsored by Lord Clement-Jones and drafted by Poppleston Allen Solicitors which was subsequently supported by the Government).

text: "Late night refreshment" is defined as:

text: the supply of hot food or drink (that is, food or drink that is either served at, or has been heated on the premises to, a point above ambient temperature) to the public for consumption, both on or off the premises, between 23:00 and 05:00.

text: Licensing objectives[edit]

text: The licensing authority, in considering any application for a licence or for a variation must have regard to “the licensing objectives”:

text:
England and Wales
Scotland
(Northern Ireland proposals)

The prevention of crime and disorder;
Public safety;
The prevention of public nuisance; and
The protection of children from harm.

Preventing crime and disorder.
Securing public safety.
Preventing public nuisance.
Protecting and improving public health.
Protecting children from harm.

Promotion of public health.
Promotion of public safety.
Prevention of crime and disorder.
Prevention of public nuisance.
Protection of children from harm.
Fair treatment of all stakeholders[15]

text: Licensing authorities[edit]

text: The licensing authorities are local councils. In two-tier parts of England and Wales, these are the district or borough councils and elsewhere the unitary authority is the licensing authority. In Scotland each council has a Licensing Board to act as licensing authority.

text: For a premises licence, the licensing authority is the council for the place where the premises are located; where they straddle a boundary, the applicant may choose either one. For a personal licence, it is the licensing authority in whose area the applicant lives.

text: The Licensing Authority is also responsible for the issue of a Personal Licence.

text: Personal Licence[edit]

text: The Personal Licence allows an individual to sell alcohol or authorise its sale by others. A Personal Licence applicant must, prior to making an application, pass an exam, known as the Award for Personal Licence Holders (APLH) The APLH exam is a 40-question, multiple-choice paper, in which the applicant must achieve a score of 28 out of 40, or 70 percent. The applicant must also obtain “Basic Disclosure” which details any unspent convictions.

text: Upon application and if the applicant has no unspent relevant convictions the licensing authority must grant a Personal Licence, now with no expiry date attached . If relevant convictions are disclosed then the Licensing Authority must send a copy of the application to the local Police, who can object within 14 days. A hearing may then follow.

text: The applicant must make his application to the licensing authority where he ordinarily resides. Any changes to the Personal Licence thereafter (for example, name or address) must be notified to that original licensing authority, even if the Personal Licence Holder (“PLH”) has subsequently moved out of the area. Failure to do so is a criminal offence.

text: A PLH, if charged with a relevant criminal offence, must tell the court at the first appearance that he/she is a Holder of a Personal Licence. Failure to do so is a criminal offence. If the PLH is convicted of the original offence the Court can suspend or forfeit the personal licence. A Personal Licence is valid:

text:
In England and Wales, for 10 years. The Government has announced also an intention to remove the requirement to renew personal licences which, if enacted before 2015 will eliminate the need for any renewals.
In Scotland, also 10 years but after 5 years the licence holder must satisfy the local licensing board that he or she has passed a refresher course.
In Northern Ireland, also 10 years and under substantially stricter conditions as the Licensing Authorities in England, Wales, and Scotland. A Personal Licence granted in one jurisdiction is not valid in another.

text: A Designated Premises Supervisor (DPS) is required to be a PLH. The DPS (or Designated Premises Manager in Scotland) is responsible for the day-to-day running of the licensed premises.

text: Local variations[edit]

text: Local authorities have decided whether or not on a local basis to exercise their power to introduce specific restrictions on outdoor drinking. For example, Reading Borough Council is among authorities to have emulated the conditions of Transport for London that ban drinking in certain locations and the carrying of open alcohol in parts of Reading town centre.[16] The open alcohol container ban and ban on alcohol consumption outright sets a lower threshold than being drunk or drunk and disorderly in a public place.

text: Concerns[edit]

text: While the reforms from 2005 were intended to reduce "binge drinking", reports have variously claimed that the situation in England and Wales has not improved, or that it has become even worse. This has prompted a Parliamentary investigation.[17] The Department of Culture, Media and Sport concludes that the position presents "a mixed picture".[18]

text: Perceived problems in England and Wales shaped a slightly different approach in the Licensing (Scotland) Act 2005.

text: Most licensed premises are now following the Challenge 21 rule, which helps with avoiding selling to under age people. When a shop assistant believes that the person may be under 21, then they will ask the customer to prove that they are over 18. Challenge 25 (or older) was made mandatory in Scotland by the Alcohol etc. (Scotland) Act 2010.


document_title: List of largest sports contracts

question_text: who has the biggest contract in baseball history

text: List of largest sports contracts

text: Largest sports contracts[edit]

text:
Rank
Player
Team
Sport
Length of contract
Contract value (USD)
Average per year (USD)
Average per game5 (USD)
Ref[1]

01
Giancarlo Stanton
New York Yankees, Miami Marlins
Baseball
13 years (2014-2027)
$325,000,000
$25,000,000
$154,320.99
[1]

02
Rodriguez, AlexAlex Rodriguez1R
New York Yankees*
Baseball
10 years (2008–2017)
$275,000,000
$27,500,000
$169,753.09
[2]

03
Neymar
Paris Saint Germain
Association football
5 years (2017-2022)
$270,000,000
$54,000,000
$1,080,000
[3][4][5]

04
Rodriguez, AlexAlex Rodriguez2R
Texas Rangers*
Baseball
10 years (2001–2010)
$252,000,000
$25,200,000
$155,555.56
[6]

05
Cabrera, MiguelMiguel Cabrera
Detroit Tigers
Baseball
08 !8 years (2016–2023)
$248,000,000
$31,000,000
$191,358.02
[7]

005 !06 (tie)
Cano, RobinsonRobinson Cano
Seattle Mariners
Baseball
10 years (2014–2023)
$240,000,000
$24,000,000
$148,148.15
[8]

005 !06 (tie)
Pujols, AlbertAlbert Pujols
Los Angeles Angels
Baseball
10 years (2012–2021)
$240,000,000
$24,000,000
$148,148.15
[9]

007 !07
Harden, JamesJames Harden
Houston Rockets
Basketball
6 years (2017-2023)
$228,000,000
$38,000,000
$463,414.64
[10]

007 !08
Votto, JoeyJoey Votto
Cincinnati Reds
Baseball
10 years (2014-2024)
$225,000,000
$22,500,000
$138,889
[11]

008 !08
Price, DavidDavid Price
Boston Red Sox
Baseball
07 !7 years (2016–2022)
$217,000,000
$31,000,000
$191,358.02
[12]

009 !09
Kershaw, ClaytonClayton Kershaw
Los Angeles Dodgers
Baseball
07 !7 years (2014–2020)
$215,000,000
$30,714,285
$186,120.37
[13]

010 !10
Fielder, PrincePrince FielderInjury
Detroit Tigers*
Baseball
09 !9 years (2012–2020)
$214,000,000
$23,777,777
$146,776.40
[14]

011 !11
Scherzer, MaxMax Scherzer
Washington Nationals
Baseball
07 !7 years (2015–2021)
$210,000,000
$30,000,000
$185,185.19
[15]

012 !12
Greinke, ZackZack Greinke
Arizona Diamondbacks
Baseball
06 !6 years (2016–2021)
$206,500,000
$34,416,667
$212,448.56
[16]

014 !14
Westbrook , RussellRussell Westbrook 6
Oklahoma City Thunder
Basketball
05 !5 years (2018–2023)
$205,000,000
$41,000,000
$491,000.00
[17]

015 !15
Curry, StephenStephen Curry6
Golden State Warriors
Basketball
05 !5 years (2017–2022)
$201,200,000
$40,200,000
$490,243.90
[18]

016 !16
Jeter, DerekDerek JeterR
New York Yankees*
Baseball
10 years (2001–2010)
$189,000,000
$18,900,000
$116,666.67
[19]

017 !17 (tie)
Mauer, JoeJoe Mauer
Minnesota Twins
Baseball
08 !8 years (2011–2018)
$184,000,000
$23,000,000
$141,975.31
[20]

017 !17 (tie)
Heyward, JasonJason Heyward
Chicago Cubs
Baseball
08 !8 years (2016–2023)
$184,000,000
$23,000,000
$141,975.31
[21]

018 !18
Mayweather, FloydFloyd MayweatherR
Showtime*
Boxing
02 !2 years (2013–2015)
$180,000,000+
$72,000,000+
$30,000,000+
[22]

018 !18 (tie)
Teixeira, MarkMark TeixeiraR
New York Yankees*
Baseball
08 !8 years (2009–2016)
$180,000,000
$22,500,000
$138,888.89
[23]

018 !18 (tie)
Verlander, JustinJustin Verlander
Detroit Tigers
Baseball
07 !7 years (2013–2019)
$180,000,000
$25,714,286
$158,730.16
[24]

019 !19 (tie)
Hernández, FélixFélix Hernández
Seattle Mariners
Baseball
07 !7 years (2013–2019)
$175,000,000
$25,000,000
$154,320.99
[25]

020 !20 (tie)
Strasburg, StephenStephen Strasburg
Washington Nationals
Baseball
07 !7 years (2017–2023)
$175,000,000
$25,000,000
$154,320.99
[26]

022 !22
Griffin, BlakeBlake Griffin6
Los Angeles Clippers
Basketball
05 !5 years (2017–2022)
$172,260,000
$34,452,000
$420,146.34
[27]

023 !23
Posey, BusterBuster Posey
San Francisco Giants
Baseball
09 !9 years (2013–2021)
$167,000,000
$18,555,556
$114,540.47
[28]

024 !24 (tie)
Sabathia, CCCC Sabathia
New York Yankees
Baseball
07 !7 years (2009–2015)
$161,000,000
$23,000,000
$141,975.31
[29]

024 !24 (tie)
Davis, ChrisChris Davis
Baltimore Orioles
Baseball
07 !7 years (2016–2022)
$161,000,000
$23,000,000
$141,975.31
[30]

026 !26 (tie)
Kemp, MattMatt Kemp
Los Angeles Dodgers*
Baseball
08 !8 years (2012–2019)
$160,000,000
$20,000,000
$123,456.79
[31]

026 !26 (tie)
Ramírez, MannyManny RamírezR
Boston Red Sox*
Baseball
08 !8 years (2001–2008)
$160,000,000
$20,000,000
$123,456.79
[32]

028 !28
Tulowitzki, TroyTroy Tulowitzki
Colorado Rockies*
Baseball
10 years (2011–2020)
$157,750,000
$15,775,000
$97,376.54
[33]

029 !29 (tie)
Tanaka, MasahiroMasahiro Tanaka
New York Yankees
Baseball
07 !7 years (2014–2020)
$155,000,000
$22,141,857
$136,684.30
[34]

029 !29 (tie)
Lester, JonJon Lester
Chicago Cubs
Baseball
06 !6 years (2015–2020)
$155,000,000
$25,833,333
$159,465.02
[35]

031 !31
González, AdriánAdrián González
Boston Red Sox*
Baseball
07 !7 years (2012–2018)
$154,000,000
$22,000,000
$135,802.67
[36]

032 !32 (tie)
Räikkönen, KimiKimi Räikkönen
Ferrari
Auto racing
03 !3 years (2007–2009)
$153,000,000
$51,000,000
$2,942,307.69

[37]

032 !32 (tie)
Ellsbury, JacobyJacoby Ellsbury
New York Yankees
Baseball
07 !7 years (2014–2020)
$153,000,000
$21,857,142
$134,920.64
[38]

034 !34
Conley Jr., MikeMike Conley Jr.
Memphis Grizzlies
Basketball
5 years (2016–2020)
$152,605,576
$30,521,115
$372,208.72
[39]

035 !35
Cabrera, MiguelMiguel Cabrera
Detroit Tigers
Baseball
08 !8 years (2008–2015)
$152,300,000
$19,037,500
$117,515.43
[40]

036 !36
Helton, ToddTodd HeltonR
Colorado Rockies*
Baseball
11 years (2001–2011)
$151,500,000
$13,772,727
$85,016.83
[41]

037 !37
Greinke, ZackZack Greinke
Los Angeles Dodgers*
Baseball
06 !6 years (2013–2019)
$147,000,000
$24,500,000
$151,234.57
[42]

038 !38
Bale, GarethGareth Bale
Real Madrid C.F.
Association football
06 !6 years (2013–2019)
$146,280,000
$24,380,000
$406,333.33
[43]

039 !39
Trout, MikeMike Trout
Los Angeles Angels
Baseball
06 !6 years (2015–2020)
$144,500,000
$24,083,333
$148,662.55
[44]

040 !40
Hamels, ColeCole Hamels
Philadelphia Phillies*
Baseball
06 !6 years (2013–2018)
$144,000,000
$24,000,000
$148,148.15
[45]

041 !41
Crawford, CarlCarl CrawfordR
Boston Red Sox*
Baseball
07 !7 years (2011–2017)
$142,000,000
$20,285,714
$125,220.46
[46]

042 !42
Lillard, DamianDamian Lillard
Portland Trail Blazers
Basketball
05 !5 years (2016–2021)
$139,888,445
$27,977,689
$341,191.33
[47]

043 !43
Luck, AndrewAndrew Luck
Indianapolis Colts
American football
06 !6 years (2016–2021)
$139,125,000
$23,187,500
$1,449,218.75
[48]

044 !44
DeRozan, DeMarDeMar DeRozan
Toronto Raptors
Basketball
05 !5 years (2016–2021)
$139,000,000
$27,800,000
$339,024.39
[49]

045 !45
Wright, DavidDavid Wright
New York Mets
Baseball
08 !8 years (2013–2020)
$138,000,000
$17,250,000
$106,481.48
[50]

046 !46
Santana, JohanJohan Santana
New York Mets*
Baseball
06 !6 years (2008–2013)
$137,500,000
$22,916,667
$141,460.91
[51]

047 !47
Bryant, KobeKobe BryantR
Los Angeles Lakers*
Basketball
07 !7 years (2004–2011)
$136,400,000
$19,485,714
$237,630.66
[52]

048 !48
Soriano, AlfonsoAlfonso SorianoR
Chicago Cubs*
Baseball
08 !8 years (2007–2014)
$136,000,000
$17,000,000
$104,938.27
[53]

049 !49 (tie)
Freeman, FreddieFreddie Freeman
Atlanta Braves
Baseball
08 !8 years (2014–2021)
$135,000,000
$16,875,000
$104,166.67
[54]

049 !49 (tie)
Stafford, MatthewMatthew Stafford
Detroit Lions
American football
05 !5 years (2018–2022)
$135,000,000
$27,000,000
$1,687,500.00
[55]

050 !50
Upton, JustinJustin Upton
Detroit Tigers
Baseball
06 !6 years (2016–2021)
$132,750,000
$22,125,000
$136,574.07
[56]

051 !51
Johnson, CalvinCalvin JohnsonR
Detroit Lions*
American football
08 !8 years (2007–2015)
$132,000,000
$16,500,000
$1,031,250.00
[57]

052 !52 (tie)
Choo, Shin-SooShin-Soo Choo
Texas Rangers
Baseball
07 !7 years (2014–2020)
$130,000,000
$18,571,428
$114,638.45
[58]

052 !52 (tie)
Vick, MichaelMichael Vick3 R
Atlanta Falcons*
American football
10 years (2005–2014)
$130,000,000
$13,000,000
$812,500.00
[59]

052 !52 (tie)
Cueto, JohnnyJohnny Cueto
San Francisco Giants
Baseball
06 !6 years (2016–2021)
$130,000,000
$21,666,667
$133,744.86
[60]

055 !55 (tie)
Davis, AnthonyAnthony Davis
New Orleans Pelicans
Basketball
05 !5 years (2016–2021)
$127,171,313
$25,434,262
$310,173.93
[61]

055 !55 (tie)
Drummond, AndreAndre Drummond
Detroit Pistons
Basketball
05 !5 years (2016–2021)
$127,171,313
$25,434,262
$310,173.93
[62]

055 !55 (tie)
Beal, BradleyBradley Beal
Washington Wizards
Basketball
05 !5 years (2016–2021)
$127,171,313
$25,434,262
$310,173.93
[63]

058 !58
Cutler, JayJay CutlerR
Chicago Bears*
American football
07 !7 years (2014–2020)
$126,700,000
$18,100,000
$1,131,250.00
[64]

059 !59
O'Neal, JermaineJermaine O'NealR
Indiana Pacers*
Basketball
07 !7 years (2003–2010)
$126,558,000
$18,079,714
$220,484.32
[65]

060 !60 (tie)
Garnett, KevinKevin GarnettR
Minnesota Timberwolves*
Basketball
06 !6 years (1999–2005)
$126,000,000
$21,000,000
$256,097.56
[66]

060 !60 (tie)
Lewis, RashardRashard LewisR
Orlando Magic*
Basketball
06 !6 years (2007–2013)
$126,000,000
$21,000,000
$256,097.56
[67]

060 !60 (tie)
Wells, VernonVernon WellsR
Toronto Blue Jays*
Baseball
07 !7 years (2008–2014)
$126,000,000
$18,000,000
$111,111.11
[68]

060 !60 (tie)
Zito, BarryBarry ZitoR
San Francisco Giants*
Baseball
07 !7 years (2007–2013)
$126,000,000
$18,000,000
$111,111.11
[68]

060 !60 (tie)
Werth, JaysonJayson Werth
Washington Nationals
Baseball
07 !7 years (2011–2017)
$126,000,000
$18,000,000
$111,111.11
[69]

060 !60 (tie)
Kaepernick, ColinColin Kaepernick
San Francisco 49ers*
American football
06 !6 years (2015–2020)
$126,000,000
$21,000,000
$1,312,500.00
.[70]

060 !60 (tie)
Holiday, JrueJrue Holiday6
New Orleans Pelicans
Basketball
05 !5 years (2017–2022)
$126,000,000
$25,200,000
$307,317.07
[71]

067 !67 (tie)
Howard, RyanRyan Howard
Philadelphia Phillies*
Baseball
05 !5 years (2012–2016)
$125,000,000
$25,000,000
$154,320.99
[72]

067 !67 (tie)
Hamilton, JoshJosh Hamilton
Los Angeles Angels*
Baseball
05 !5 years (2013–2017)
$125,000,000
$25,000,000
$154,320.99
[73]

067 !67 (tie)
Carr, DerekDerek Carr
Oakland Raiders
American football
05 !5 years (2018–2022)
$125,000,000
$25,000,000
$1,562,500.00
[74]

070 !70
Anthony, CarmeloCarmelo Anthony
New York Knicks
Basketball
05 !5 years (2014–2019)
$124,064,280
$24,812,856
$302,595.81
[75]

071 !71 (tie)
Schumacher, MichaelMichael SchumacherR
Ferrari*
Auto racing
04 !4 years (1996–1999)
$124,000,000
$31,000,000
$1,907,692.30
[76]

071 !71 (tie)
Ovechkin, AlexanderAlexander Ovechkin
Washington Capitals
Hockey
13 years (2008–2021)
$124,000,000
$9,538,461
$116,322.70
[77]

073 !73
Johnson, JoeJoe Johnson
Atlanta Hawks*
Basketball
06 !6 years (2010–2017)
$123,658,089
$20,609,681
$251,337.58
[78]

074 !74
Webber, ChrisChris WebberR
Sacramento Kings*
Basketball
07 !7 years (2001–2007)
$122,718,750
$17,531,250
$213,795.73
[79]

075 !75
Duncan, TimTim DuncanR
San Antonio Spurs*
Basketball
07 !7 years (2003–2010)
$122,007,704
$17,429,672
$212,556.98
[80]

076 !76
Hampton, MikeMike HamptonR
Colorado Rockies*
Baseball
08 !8 years (2001–2008)
$121,000,000
$15,125,000
$93,364.20
[41]

077 !77
Flacco, JoeJoe Flacco
Baltimore Ravens
American football
06 !6 years (2013–2018)
$120,600,000
$20,100,000
$1,256,250.00
[81]

078 !78 (tie)
Giambi, JasonJason GiambiR
New York Yankees*
Baseball
07 !7 years (2002–2008)
$120,000,000
$17,142,857
$105,820.10
[82]

078 !78 (tie)
Andrus, ElvisElvis Andrus
Texas Rangers
Baseball
08 !8 years (2015–2022)
$120,000,000
$15,000,000
$92,592.59
[83]

078 !78 (tie)
Lee, CliffCliff LeeR
Philadelphia Phillies*
Baseball
05 !5 years (2011–2015)
$120,000,000
$24,000,000
$148,148.15
[84]

078 !78 (tie)
O'Neal, ShaquilleShaquille O'NealR
Los Angeles Lakers*
Basketball
07 !7 years (1996–2003)
$120,000,000
$17,142,857
$209,059.23
[85]

078 !78 (tie)
Holliday, MattMatt Holliday
St. Louis Cardinals*
Baseball
07 !7 years (2010–2016)
$120,000,000
$17,142,857
$105,820.10
[86]

078 !78 (tie)
Fitzgerald, LarryLarry Fitzgerald
Arizona Cardinals
American football
08 !8 years (2011–2018)
$120,000,000
$15,000,000
$937,500.00
[87]

078 !78 (tie)
Batum, NicolasNicolas Batum
Charlotte Hornets
Basketball
05 !5 years (2016–2021)
$120,000,000
$24,000,000
$292,682.93
[88]

085 !85
Palmer, CarsonCarson Palmer
Cincinnati Bengals*
American football
09 !9 years (2006–2014)
$119,750,000‡
$13,305,555
$831,597.19
[89]

086 !86
Beltrán, CarlosCarlos Beltrán
New York Mets*
Baseball
07 !7 years (2005–2011)
$119,000,000
$17,000,000
$104,938.27
[90]

087 !87
Harden, JamesJames Harden
Houston Rockets
Basketball
04 !4 years (2016–2020)
$118,103,446
$29,525,861
$360,071.48
[91]

088 !88
Bosh, ChrisChris Bosh
Miami Heat
Basketball
05 !5 years (2014–2019)
$118,000,000
$23,600,000
$287,804.88
[92]

089 !89
Griffey, Jr., KenKen Griffey, Jr.R
Cincinnati Reds*
Baseball
09 !9 years (2000–2008)
$116,500,000
$12,944,444
$79,903.98
[41]

090 !90 (tie)
McNabb, DonovanDonovan McNabbR
Philadelphia Eagles*
American football
12 !12 years (2002–2013)
$115,000,000‡
$9,583,333
$598,958.31
[93]

090 !90 (tie)
Dalton, AndyAndy Dalton
Cincinnati Bengals
American football
06 !6 years (2015–2020)
$115,000,000‡
$19,166,667
$1,197,916.67
[94]

092 !92
Miller, VonVon Miller
Denver Broncos
American football
06 !6 years (2016–2021)
$114,500,000
$19,083,333
$1,192,708.33
[95]

093 !93
Suh, NdamukongNdamukong Suh
Miami Dolphins
American football
06 !6 years (2015–2020)
$114,000,000
$19,000,000
$1,187,500.00
[96]

094 !94
Horford, AlAl Horford
Boston Celtics
Basketball
04 !4 years (2016–2020)
$113,326,228
$28,331,557
$345,506.79
[97]

095 !95 (tie)
Love, KevinKevin Love
Cleveland Cavaliers
Basketball
05 !5 years (2015–2020)
$113,211,750
$22,642,350
$276,126.22
[98]

095 !95 (tie)
Gasol, MarcMarc Gasol
Memphis Grizzlies
Basketball
05 !5 years (2015–2020)
$113,211,750
$22,642,350
$276,126.22
[99]

097 !97
Cain, MattMatt Cain
San Francisco Giants
Baseball
06 !6 years (2012–2017)
$112,500,000
$18,666,667
$115,226.34
[100]

098 !98
Arenas, GilbertGilbert Arenas4 R
Washington Wizards*
Basketball
06 !6 years (2008–2013)
$111,000,000
$18,500,000
$225,609.76
[101]

099 !99 (tie)
Weber, SheaShea Weber
Nashville Predators*
Hockey
14 !14 years (2012–2026)
$110,000,000
$7,857,143
$95,818.82
[102]

099 !99 (tie)
Rodgers, AaronAaron Rodgers
Green Bay Packers
American football
05 !5 years (2015–2019)
$110,000,000
$22,000,000
$1,375,000.00
[103]

099 !99 (tie)
Zimmermann, JordanJordan Zimmermann
Detroit Tigers
Baseball
05 !5 years (2016–2020)
$110,000,000
$22,000,000
$135,802.47
[104]

099 !99 (tie)
Cespedes, YoenisYoenis Cespedes
New York Mets
Baseball
04 !4 years (2017–2020)
$110,000,000
$27,500,000
$169,753.09
[105]

099 !99 (tie)
Vettel, SebastianSebastian Vettel
Ferrari
Auto racing
03 !3 years (2015–2017)
$110,000,000
$36,666,667
$1,833,333.33
[106]

104 !104 (tie)
James, LeBronLeBron James
Miami Heat*
Basketball
06 !6 years (2010–2016)
$109,837,500
$18,306,250
$223,246.95
[107]

104 !104 (tie)
Bosh, ChrisChris Bosh
Miami Heat
Basketball
06 !6 years (2010–2016)
$109,837,500
$18,306,250
$223,246.95
[107]

106 !106
Romo, TonyTony RomoR
Dallas Cowboys*
American football
06 !6 years (2014–2019)
$108,000,000
$18,000,000
$1,125,000.00
[108]

107 !107
Paul, ChrisChris Paul
Los Angeles Clippers*
Basketball
05 !5 years (2013–2018)
$107,343,478
$21,468,696
$261,813.36
[109]

108 !108
Wade, DwyaneDwyane Wade
Miami Heat*
Basketball
06 !6 years (2010–2016)
$107,186,000
$17,864,333
$217,857.72
[110]

109 !109
Kemp, ShawnShawn KempR
Cleveland Cavaliers*
Basketball
07 !7 years (1997–2004)
$107,000,000
$15,285,714
$186,411.15
[111]

110 !110
McCollum, C.J.C.J. McCollum
Portland Trail Blazers
Basketball
04 !4 years (2017–2021)
$106,663,450
$26,665,862
$325,193.45
[112]

111
Porter, OttoOtto Porter
Washington Wizards
Basketball
4 years (2017-2021)
$106,524,975
$26,631,244
$324,771.27
[113]

112
Reyes, JoséJosé Reyes
Miami Marlins*
Baseball
06 !6 years (2012–2017)
$106,000,000
$17,666,666
$109,053.50
[114]

113
Howard, JuwanJuwan HowardR
Washington Bullets*
Basketball
07 !7 years (1996–2003)
$105,375,000
$15,053,571
$183,580.14
[115]

114 (tie)
Brown, KevinKevin BrownR
Los Angeles Dodgers*
Baseball
07 !7 years (1999–2005)
$105,000,000
$15,000,000
$92,592.59
[41]

114 !114 (tie)
Bailey, HomerHomer Bailey
Cincinnati Reds
Baseball
06 !6 years (2014–2019)
$105,000,000
$17,500,000
$108,024.61
[116]

114 !114 (tie)
Braun, RyanRyan Braun
Milwaukee Brewers
Baseball
05 !5 years (2016–2020)
$105,000,000
$21,000,000
$129,629.63
[117]

114 !114 (tie)
Mourning, AlonzoAlonzo MourningR
Miami Heat*
Basketball
07 !7 years (1996–2003)
$105,000,000
$15,000,000
$182,926.83
[118]

118 !118
Crosby, SidneySidney Crosby
Pittsburgh Penguins
Hockey
12 !12 years (2013–2025)
$104,400,000
$8,700,000
$106,097.56
[119]

119 !119
Rooney, WayneWayne Rooney
Manchester United
Association football
04 !4 years (2015–2019)
$104,000,000
$26,000,000
$498,000.00
[120]

120 !120
Newton, CamCam Newton
Carolina Panthers
American football
05 !5 years (2015–2020)
$103,800,000
$20,760,000
$1,297,500.00
[121]

121 !121
Ryan, MattMatt Ryan
Atlanta Falcons
American football
05 !5 years (2014–2018)
$103,750,000
$20,750,000
$1,296,875.00
[122]

122 !122
Kidd, JasonJason KiddR
New Jersey Nets*
Basketball
06 !6 years (2003–2009)
$103,572,000
$17,262,000
$210,512.20
[123]

123 !123
Bledsoe, DrewDrew BledsoeR
New England Patriots*
American football
10 !10 years (2001–2010)
$103,000,000
$10,300,000
$643,750.00
[124]

124 !124
Cox, FletcherFletcher Cox
Philadelphia Eagles
American football
06 !6 years (2017–2022)
$102,600,000
$17,100,000
$1,068,750.00
[125]

125 !125
Finley, MichaelMichael FinleyR
Dallas Mavericks*
Basketball
07 !7 years (2001–2008)
$102,265,625
$14,609,375
$178,163.11
[126]

126 !126 (tie)
Roethlisberger, BenBen Roethlisberger
Pittsburgh Steelers
American football
08 !8 years (2008–2015)
$102,000,000‡
$12,750,000
$796,875.00
[127]

126 !126 (tie)
Ronaldo, CristianoCristiano Ronaldo
Real Madrid C.F.
Association football
06 !6 years (2009–2015)
$102,000,000
$17,000,000
$400,000.00
[128]

text:
1 – Rodriguez's 2014 salary was reduced to $2,868,853 due to his season-long suspension related to the Biogenesis baseball scandal[129] 2 – Rodriguez opted out of this contract after the 2007 season 3 – Vick's contract was terminated by the Atlanta Falcons after the 2006 season 4 – Arenas was suspended without pay for the majority of the 2009-10 season 5 – Based on regular season games only (excludes any playoff games), also in baseball, starting pitchers usually pitch every five games, resting during the interval between starts 6 - Exact contract figures will be available once the 2017–18 salary cap is set and contracts are officially signed R – retired Injury - While still technically under contract, injury has ended his career * – no longer on team
‡ – entirety of contract salary not guaranteed