But back in the Thirties, when the film was made, the outrage was in respect of the behaviour of the ‘little people’ (as they like to be called).
It was shocking simply because it was so unexpected.
Most were old enough to have learned how to survive in New York or in Europe during the years of the Great Depression.
And when they arrived in Hollywood in 1938, to be cast in one of the most prestigious films ever, it marked a distinct improvement in their fortunes. Stars such as Jean Harlow and Katharine Hepburn had a huge following, while the love lives of the swashbuckling Errol Flynn and Charlie Chaplin were already legendary.
"They did not like us touching them or lifting them into their make-up chairs.
They insisted on climbing up by themselves." If the film-makers thought full-sized stars had attitude, they had seen nothing yet.
Many of them had vile tempers, too, so much so that one even tried to kill his wife.
According to Irvine Welsh, who co-authored the play with his screenwriting partner Dean Cavanagh, when the pressure group learned of their plans to replace their members with able-bodied actors, they were outraged.Made in 1939, the movie was then the last word in special effects, make-up, set design and costumes, not to mention the highpoint of Garland’s career.Her breasts strapped down to hide her burgeoning figure, the 17-year-old former child star plays the little Kansas girl Dorothy, who with her dog, Toto, is whisked away by a tornado to a fantasy land where she follows the Yellow Brick Road, kills the Wicked Witch and meets the powerful Wizard.Certainly, some of them seem to have resorted to boosting their earnings by pimping and whoring - and indeed begging.As many pointed out later, they were being paid far less than anyone else on the film - including Toto the dog.
There were rumours of wild evenings with rooms ransacked and drunken midgets swinging from the rafters.