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The Wizard of Oz (M-G-M), dusted off and reissued, proves that true wizardry, whether in books or on the screen, is ageless. In the magical land of Oz, nothing changes. As wide-eyed Dorothy, Judy Garland still wanders through an enchanted Technicolored landscape with the Tin Woodsman (Jack Haley), the Scarecrow (Ray Bolger) and the Cowardly Lion (Bert Lahr). The whimsical gaiety, the lighthearted song & dance, the lavish Hollywood sets and costumes are as fresh and beguiling today as they were ten years ago when the picture was first released. Oldsters over ten who have seen it once will want to see it again.Youngsters old enough not to be frightened out of their wits by the Wicked Witch (Margaret Hamilton) will have the thrill of some first-rate make-believe ("We're off to see the Wizard, the Wonderful Wizard of Oz . . .").

My Dream Is Yours (Warner) is a lightheaded musical as full of color and tunes as a jukebox. It has all been done before--frequently much better. A sort of musicomedy The Hucksters, it involves a radio talent scout (Jack Carson), his Hollywood boss (Adolphe Menjou) and a blonde disc jockey (Doris Day).

The plot is too complicated to worry much about, but there are several pleasant songs (by Harry Warren) sung with tireless bounce by Doris Day, and some mildly astringent lines about radio advertising, mostly delivered by Eve Arden.

The Undercover Man (Columbia) is another hare & hounds episode produced with the help of U.S. Government files. The hare in this instance is a character called "The Big Fellow" who never appears on the screen, but who seems to be modeled on the late Al Capone. Heading the hounds is Glenn Ford as a Government T-man who is out to nail The Big Fellow on a $3,000,000 tax-evasion rap.

The picture has a few minor virtues, most of them negative. It is less noisy and violent than most semi-documentaries of its kind and its heroics are less improbable. A cagey use of understatement throughout gives the film an air of reality that is not backed up by its plot.

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