for adults." Ray Bolger, who played the Scarecrow in the 1939 The Wizard of Oz film, did not think highly of The Wiz, stating "The Wiz is overblown and will never have the universal appeal that the classic MGM musical has obtained." The decision to hire Sidney Lumet, a dramatic filmmaker without any prior experience directing musicals, was criticized, with many critics believing his style was unsuited to the material or genre. The cinematography and production design, which replaced the fantastical Oz settings of the stage version with gritty urban cityscapes, were likewise criticized. Critics also questioned the decision to cut large portions of the original score, in some cases substituting original compositions that were regarded as inferior. Jackson's performance as the Scarecrow was one of the few positively reviewed elements, with critics noting that Jackson possessed "genuine acting talent" and "provided the only genuinely memorable moments." Of the results of the film, Jackson stated: "I don't think it could have been any better, I really don't." In 1980, Jackson stated that his time working on The Wiz was "my greatest experience so far . . . I'll never forget that." Gene Siskel and Roger Ebert gave the film some of its most positive reviews on Sneak Previews. Siskel called it "superior musical theater," said Diana Ross was "superb," "terrific" and came across as "a real star" but had reservations about the film's "heavy message." Ebert praised other cast members and numerous technical aspects of the film, saying it was "fun" and in the "great tradition of the American musical." The film received another positive critique for its elaborate set design in the book American Jewish Filmmakers, which noted that it "features some of the most imaginative adaptations of New York locales since the glory days of the Astaire-Rogers films." In a 2004 review of the film, Christopher Null wrote positively of Ted Ross and Richard Pryor's performances. However, Null's overall review of the film was critical, and he wrote that other than the song "Ease on Down the Road", "the rest is an acid trip of bad dancing, garish sets, and a Joel Schumacher-scripted mess that runs 135 agonizing minutes." A 2005 piece by Hank Stuever in The Washington Post described the film as "a rather appreciable delight, even when it's a mess", and felt that the singing – especially Diana Ross's – was "a marvel". The New York