• ozIn L. Frank Baum’s novel, The Wizard of Oz, everyone looks to the Wizard to meet their needs. This is ironic because the Wizard cannot meet anyone’s needs. He is an illusionist, a pretender, and a trickster. Baum’s novel can be read as an allegory: Dorothy and her friends represent people who look to the state to solve their problems for them, while the Wizard represents an all-powerful ruler who appears to have all the answers, but in reality does not.

    Everyone has illusions about the Wizard. The Witch of the North calls him “the Great Wizard” who is “more powerful than the rest of us together” (12). The farmer says he “can take on any form he wishes” (76). The Wizard has no special powers, and he cannot change form. He is a pretender: someone “who makes a false show.”1 To Dorothy and her friends, he appears as “an enormous head” (87), a “lovely lady” (91), a “terrible Beast” (93), and a “Ball of Fire” (94). They are fooled by the Wizard because he is a master of illusion. He deceives people not only with false appearances, but also by keeping his distance from them. The farmer says, “the Great Wizard does not like to see anyone” (77). This is because the more people who see him, the greater the chance that someone will discover he is an illusionist.

    The Wizard creates illusions not only about himself but also the Emerald City he rules. When Dorothy and her friends meet the Guardian of the Gates, he tells them, “you must put on the spectacles” (79). These green-tinted glasses distort people’s perception of reality. While wearing them, Dorothy is “dazzled by the brilliancy of the wonderful city” (82) because the spectacles create the illusion that everything in the city is green. The color green suggests life and the growth of the natural world. Although the people “seemed happy and contented and prosperous” (83), the appearance of something is not always the reality. The Wizard has given the people the illusion that their city is glorious and prosperous.

    The Wizard deceives Dorothy and her friends, taking advantage of their deepest desires. Dorothy asks him to send her back to Kansas; the Scarecrow asks him to “put brains in [his] head instead of straw” (92); the Tin Woodman asks for “a heart that [he] may be as other men” (93); and the Lion asks for courage so that he can “become the King of Beasts” (95). The Wizard promises to grant their requests if they will do one thing for him: kill the Wicked Witch of the West. Dorothy and her friends agree to his terms and become a band of assassins. The Wizard manipulates them with false promises in order to have his enemy destroyed.

    When Dorothy and her friends return to the Emerald City to deliver the news that the Witch is dead, the Wizard’s screen of appearances is finally uncovered. They discover he is a little old man with “no magical powers at all” (138). The irony is that Dorothy and her friends do not need the Wizard for anything—they possess the power themselves to change. The Wizard recognizes this, telling the Scarecrow: “experience is the only thing that will bring knowledge,” and to the Lion: “courage is facing danger when you are afraid, and that kind of courage you have” (139). Dorothy’s friends, however, do not have ears to hear. Despite the Wizard admitting, “I cannot keep my promises” (139), the Scarecrow and the Tin Woodman sill insist that he help them. Dorothy’s friends put their hope in a Wizard who only has the power of good advice.

    Unhealthy dependency arises when we have no confidence in ourselves, and we look to other people to solve all our problems. The dependency that Dorothy and her friends have on each other is healthy, serving one another in love; however, their dependency on a Wizard to solve their problems for them is not healthy. At first, Dorothy believes the Wizard is her only hope in getting home to Kansas, but she eventually learns that she can get there on her own.

  • the-world-of-suzie-wong-movie-poster-1960-1020283218In Richard Quine’s The World of Suzie Wong (1960), Robert Lomax (William Holden) falls in love with Suzie Wong (Nancy Kwan), a woman half his age. By examining their relationship, we can discover some of the reasons why older men and younger women fall in love. Older men are attracted to younger women because of their beauty, energy, and fertility, while younger women can be attracted to older men who are more mature than men their own age and have an established career.

    Robert’s initial attraction to Suzie is because of her beauty and energy. He tells her that she is “the prettiest girl in Hong Kong”, and he “thought so from the first moment” he saw her. Her life energy is seen when they take a boat ride, and she whispers in his ear, making him laugh. Suzie is a fountain of youth to Robert.

    Not only is Suzie young and beautiful, a woman “not even twenty,” but she has sexual power over men. When she dances, and swerves her hips, Robert is spellbound. Kay O’Neill (Sylvia Syms), who Robert is attracted to, she does not have Suzie’s vibrant sexuality.

    As a model, Suzie becomes a muse for Robert’s art. Art is an outward expression of a person’s inner being, and Suzie, who inspires Robert’s paintings, touches the inmost part of his being. Her beauty impacts him on two levels: awakening love in his heart and releasing his abilities as an artist. After Kay sells a portrait of Suzie in London, Robert tells Suzie: “You’re going to make me famous.” Robert is drawn to her because she can help fulfill his dream of becoming an artist.

    Robert wants to rescue Suzie from her life of prostitution, and, in rescuing her, this strengthens his masculine identity. A man “pushing forty”, he is approaching a period of life when many men have a mid-life crisis. His job as an architect “never satisfied” him, and he “fell into a pattern.” To create a new life for himself, he moves to Hong Kong to pursue his dream. However, when he runs out of money, his dream—and a renewed identity along with it—collapses. Robert finds a new identity as a knight errant, rescuing a damsel in distress.

    Suzie is attracted to Robert because of his goodness and maturity. She wants a “good man with [a] big heart.” As a prostitute, she sells her body to sailors who are physically and verbally abusive. He tells her: “an artist always tries to look deeper.” He sees something “deeper” in Suzie and treats her with dignity and respect.

    Suzie’s relationship with Robert strengthens her self-worth. As a prostitute, she suffers from low self-esteem, creating a false history that she is the daughter of a rich man, often telling Robert: “I am not [a] dirty street girl.” These are all attempts to protect her fragile self-image. With Robert, she feels loved and accepted despite being a prostitute.

    Suzie is also drawn to Robert because he can financially provide for her. As an architect, he has greater earning potential than most young men in Hong Kong. Robert cannot provide an income for Suzie as an artist, but he has a career as a draftsman that he can return to. Suzie is unable to read or write, has no work experience, and when her beauty fades, her ability to earn money as a prostitute will be gone. If she wants to have another child, Robert can give her long-term financial security.

    Love is a mystery that can never be fully understood or explained, yet there are reasons why older men and younger women are attracted to each other. The beauty and energy of a younger woman can make an older man feel young again, and if he wants to become a father, then marrying a woman his own age may be no longer be an option. Women today may not want a man to provide for them, but they are often reluctant to marry a man they will have to financially provide for. If a young woman has had negative experiences with men her own age, she can be swept off her feet by an older man who is successful, mature, and above all, treats her like gold.