Not that “The Wizard of Oz” needed further revision after “Wicked.” But the Sci Fi Channel’s update on the classic works nicely to introduce a darker version of the story to a new generation and to invoke inside jokes for those who adore the original.
Ding-dong, the witch never gets to sing but she does have a prolonged exit, a la Margaret Hamilton, in “Tin Man,” premiering at 7 p.m. Sunday and running for three consecutive nights.
With winks at L. Frank Baum’s book, the six-hour miniseries hops not over the rainbow but into another world to preach self-awareness. There’s enough therapy-talk here to make up for any restraint in the Judy Garland version.
In this futuristic take, there’s a nod to Dorothy Gale, down to her blue checked gingham apron. But this heroine, named D.G., is less small-town farm girl, more Xena, Warrior Princess.
The tale turns on a yin-yang split between the good D.G. (Zooey Descha- nel) and her nemesis, the evil sorceress Azkadellia (Kathleen Robertson). Although the action doesn’t start in black and white and turn to color, D.G. is plucked from her drab life and thrust into “the O.Z.” — the Outer Zone, a fantastical realm currently ruled by black magic. Is it an accident that regular references to “the O.Z.” begin to sound like teen-friendly “the O.C.”?
Viewers will relish the hero’s journey, although two nights’ worth would have sufficed.
“Tin Man” is a delicious mashup of fantasy action-adventure, digital effects, a tale of self-actualization and, at times, a bow to the power of psychotherapy. “Shed light on your past so that you may better face your future,” a wizardlike Mystic Man (Richard Dreyfuss) tells D.G.
Hallucinatory dreams, storm-trooper villains, a missing emerald and flying monkey-bats that spring to life from a tattoo on the sorceress’ bosom all play parts en route.
There’s even a hot-air balloon and a shape-shifter who takes the form of a cute Cairn terrier. In other words, writers-producers Steven Long Mitchell and Craig W. Van Sickle manage to tag all the “Wizard of Oz” high points while rearranging relationships and updating the action. Director Nick Willing relies on background paintings for many of the expansive, cinematic scenes that seem intended to dwarf the characters.
Neal McDonough (“Band of Brothers”) makes the crazy action believable, grounding this otherworldly fairy tale. Once he appears onscreen, we can relax. As the Tin Man of the title, so called because of his police badge, he is a riveting Indiana Jones- style adventurer, elevating key moments with the same intensity he brings to every role.
Broadway and film actor Alan Cumming adds restrained humor as the smart but brain-challenged Glitch. Deschanel, with those oversized eyes wide open most of the time, humanizes the proceedings, although her delivery is sometimes clunky. Raoul Trujillo, as the half-human, half-wolverine Raw, is less lovable than a certain Cowardly Lion but equally brave.
The breakout personality is Robertson (“The Business,” “Hollywoodland”), who isn’t just beautiful but perfectly icy as the villain seeking “permanent darkness” (and, evidently, elegant fashion sense) for her realm.
Where the “Oz” movie was essentially a road picture with companions linking arms to take a journey, “Tin Man” is a coming-of-age story anchored in the battle of good versus evil, with less interpersonal connection among the travelers. The lionlike character is psychic; the thinking scarecrow-type traveler isn’t particularly closer to D.G. than the others; the man found in a metal suit with a badly scarred heart is in search of his own family.
Oedipal issues, the challenge of trusting another human being and the limited uses of torture are deftly addressed.
The whole extended undertaking feels a bit like “Myst” or some other video game. (In fact, a game board with toy pieces in the shapes of the film characters was included with the press kit.)
They’ve tinkered with the character connections, added royalty to the mix and given the look a retro-gloss cleverly mixed with futuristic and fascistic design elements.
Still, it’s about family. And love. Also, heart, brains and courage. And home. Are we there yet?
Joanne Ostrow: 303-954-1830 or jostrow@denverpost.com
