In the beloved film “Wicked,” the renowned magical shoes are silver. However, for those wishing to view them in their iconic ruby-red splendor from “The Wizard of Oz,” the perfect destination is the Academy Museum of Motion Pictures in Los Angeles. There, you can appreciate Dorothy’s shoes, famously worn by Judy Garland, which are currently showcased as part of an expansive exhibition focusing on the evolution of color in film. The enchanting sequined slippers play a pivotal role in this vibrant history.
While the original 1900 story by Frank L. Baum depicted the shoes as silver, the filmmakers of the 1939 classic opted for bold red to enhance the transition from the muted sepia tones of Kansas to the dazzling colors of Oz. This decision coincided with the dawn of a revolutionary technology called Technicolor.
The exhibit titled “Color in Motion: Chromatic Explorations of Cinema,” which runs until July 13, is especially relevant now, as the interest in all things “Oz” resurges. It also aims to shed light on the often-overlooked contributions of women in the development of color in Hollywood. Their efforts included labor-intensive tasks like hand-coloring and stenciling, which allowed them to establish a presence in a predominantly male industry.
An interactive installation invites attendees to generate their own bursts of color through movement, adding a personal touch to the experience. Here are some key highlights from the exhibition:
Each visitor is eager to view the renowned shoes, which sit subtly against a wall despite their iconic status. Initially crafted as white silk pumps, the costume designer Adrian transformed them into brilliant red footwear by dyeing them and adorning them with nearly 5,000 sequins. This particular pair is one of only four existing pairs used in the film, and their acquisition involved notable supporters like Leonardo DiCaprio when the museum first opened in September 2021.
“They’re considered one of the crown jewels of our collection,” states Jessica Niebel, the curator of the exhibition. “Since their arrival, we continually receive requests from the public to see the ruby slippers on display again, making this a fitting opportunity.”
Notably, these shoes aren’t the only significant red footwear featured in film history. Nine years after “The Wizard of Oz,” another classic titled “The Red Shoes” brought a pair of theatrical red pointe shoes to the forefront. This film by Michael Powell and Emeric Pressburger tells the somber tale of a ballerina torn between her passion for dance and a romantic relationship. The movie features a poignant 17-minute dance sequence where a woman dances in the red shoes until her demise.
Curators highlighted these ballet shoes for their representation of both the enchantment of the color red and its significance in depicting movement through dance. Interestingly, these pointe shoes aren’t pristine; they bear the marks of wear, paralleling the trajectory of the character’s once-pure white dress as it becomes grimy.
Contrary to the common belief that silent films were only in black and white, this exhibition reveals that many silent films featured color. According to the curators, it is estimated that in the 1920s, a significant number—80 to 90 percent—were made in color, with black and white films emerging only after the introduction of sound.
Curators sourced filmstrips from four different archives in the U.S. and Europe, showcasing how these colors genuinely appeared in the 1920s without any digital alterations.
Another section discusses the little-known history of “leader ladies,” who were women tasked with appearing in the lead frame of film reels at color labs. While invisible to viewers, their work was essential in calibrating film color, a method that largely excluded people of color. “These women were predominantly white, impacting how film stock and materials were aligned with white skin,” adds Niebel.
The exhibition also honors the roles of women both in front of and behind the camera. It begins with the innovative work of Loïe Fuller, known for the Serpentine Dance where she played with colored light on flowing costumes. Moreover, during Disney’s transition to color animation, several women, under the direction of Hazel Sewell, formed the animation industry’s first all-female unit. Similarly, in early 20th-century France, young women were employed by Pathé to painstakingly hand-paint films, although they often earned less than their male colleagues.
Finally, the exhibition culminates with an engaging gallery where visitors can create colorful displays through their movements. An interactive artwork titled “Body Paint” by Memo Akten allows individuals to step in front of a screen, moving freely while their actions generate vibrant color patterns.
“This allows visitors to become animators of color through their movement,” Niebel explains, noting that many guests have spontaneously danced during the experience. “It seems to foster a sense of community,” she adds.
