At long last, the cinematic adaptation of the hit Broadway musical Wicked has arrived. It’s merely part one of a two-part story, but at 160 minutes, this is undoubtedly an epic musical fantasy bound to garner plenty of attention for what it accomplishes, how it differs, and why it was essential to expand this story into a potentially five-hour saga. And here I am with next to no knowledge about this particular story. I’ve not seen the show, nor have I read Gregory Maguire’s 1995 novel. All I have to go on are The Wizard of Oz and a couple Ozian-related projects since, which I don’t believe truly matter. With that in mind, did director Jon M. Chu (In the Heights, Crazy Rich Asians) deliver? Well, the film may not have defied gravity for me, but it will be rightfully popular.
Set in the Land of Oz, but before Dorothy’s weather-related dimensional transportation, Wicked (Part 1) focuses on Elphaba (Cynthia Erivo), the young, green-skinned woman with certain magical gifts. She arrives at Shiz University to help her younger paraplegic sister, Nessarose (Marrisa Bode), get settled, only to gain the attention of Madame Morrible (Michelle Yeoh), the Headmistress of the school. This is much to the chagrin of Galinda (Ariana Grande), the sunny yet spoiled rival to Elphaba, whose popularity emerges the second she arrives at Shiz. Making matters worse for a time, the two are forced to be roommates, as Elphaba is recruited to study her powers with the Madame. Will the two ladies eventually learn to get along, ideally helping Elphaba no longer be treated like an outcast? And what is to come of a possible meeting with the Wonderful Wizard of Oz (Jeff Goldblum)?
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There are answers to these questions, of course, and even as one with only so much knowledge concerning the original show, it’s not as if there are big surprises. Working as a prequel/origin story for characters from 1939’s The Wizard of Oz, this is less about what’s to come and more focused on how we got there. Was the Wicked Witch of the West always so wicked? Is Glinda the Good Witch of the North really that good? Gaining a new understanding of how these characters formed is the sort of thing some may wonder, but one must hope a really good story comes along if there’s ever a chance to truly dive into this. What I wasn’t expecting is just how profoundly sad it all actually turned out to be.
Make no mistake, the film is designed to be an entertaining fantastical adventure, complete with big musical numbers, many comedic moments, and plenty of imagination regarding creating the different locations in the Land of Oz. With that in mind, given the story that’s being told, whether or not the source material is even darker, I couldn’t shake the feeling of how upsetting it is to see Elphaba simply trying to exist in the world and being greeted with stares, screams, and other discomforting notions. It’s not hard to see the themes of discrimination and racism (alongside female empowerment and what I can only imagine are various queer interpretations) in the story, but I can only hope the arc of what’s taking place in this PG-rated film ultimately resonates in a manner that counters the emotions I was surprised this film was bringing up.
Of course, Wicked is still designed to take every opportunity to attempt to entertain. Given the film’s length, it’s not constantly firing on all cylinders in terms of energy and intrigue. To better justify the decision to split the show in two, I’m aware that work has been done to incorporate more from the novel and do whatever else to better define these characters and their relationship. As a feature, the story does feel a bit thin, given what it’s working with and the broad goals when all is said and done. Naturally, with enough needing to be done as far as dealing with these two as frenemies, inserting a couple of romantic avenues into their lives in the form of Fiyero (Jonathan Bailey) and Boq (Ethan Slater), and eventually exploring the Emerald City, it could appear that plenty is going on. Still, momentum can be vital to a movie like this, and it has occasional spots that feel a bit redundant.
Ultimately, however, what really matters is just how well Erivo and Grande occupy their roles as the stars of this massive production, and it should come as no surprise that they are indeed terrific. Featuring both the recorded songs and live singing during filming, these two deliver plenty of powerful moments thanks to the strength of their voices and the emotion they put into these performances. Both ladies shine in the way they take on the personalities required. Erivo’s Elphaba is bookish but sly enough to see through those looking down on her and not letting it hold her back. In her most substantial cinematic effort yet, Grande does plenty to convey someone who is both vapid yet self-aware enough to hold her own.
Whether or not the rest of the casting choices are ideal to those who have plenty to say regarding Broadway-to-film adaptations, there’s plenty I found to like about the supporting players, from Bailey’s conflicted Fiyero to Yeoh’s stern Headmistress. Bowen Yang and Bronwyn James are fun enough as Galinda’s catty friends, and Peter Dinklage brings gravitas as the voice of a history professor who happens to be a goat. Entirely fitting is Goldblum as the Wizard, a charlatan who must balance his charms and ulterior motives within moments. It’s fun stuff.
As the director of not only the superb In the Heights but two of the best Step Up movies, I was also pleased by what Jon M. Chu brought from a filmmaking perspective. No, this isn’t Hollywood’s Golden Age, where we are treated to a technicolor presentation of some of the best musical numbers ever put to film, but this is still a lively production. Perhaps too much cross-cutting during some of the songs for the film’s own good, but between several standout musical moments and the choreography on display, there’s plenty to admire the film for on the terms in which it presents its theatrical origins. Even at a time when cinematic vibrancy seems to be challenged constantly by various studios’ desires to homogenize blockbusters, green and pink aren’t the only colors we see here. While not the most imaginatively crafted big-budget musical, there’s a lot I was delighted by.
Considering what is accomplished before we finally reach our “To Be Continued…” point, I will also note this – the last 20 minutes of this film are spectacular. I’m aware that “Defying Gravity” is an iconic song when it comes to Wicked, and now, having the context of what’s occurring, I see there’s so much emotional satisfaction that comes from this finale. One can’t help but be incredibly enthusiastic about seeing what comes next. I say that knowing my concerns related to how upsetting aspects were already will likely only increase. That’s not an unfavorable remark on the film, but considering how it chooses to tell this story, the prospect of having excitement and tragedy combined for a second musical epic is certainly fascinating.
Looking at Wicked as one of several huge musicals being released during the holiday season, I have much to appreciate here. Elphaba and Glinda are already iconic characters, and having one out of two feature films expanding on who they are for the masses will go a long way. I was impressed by what Erivo and Grande brought, and it went along well with the fantasy story being told. Wicked is a bit long, though I have no doubt it will remain exciting for those already on board and for others ready to be taken over the rainbow to join the chorus in praise. All of that in mind, as a depiction of the imaginative truth behind the wonderful land of Oz, there’s plenty to enjoy here, whether watching the characters singing or dancing through life, as this show comes alive on the big screen before audiences’ eyes.
Wicked opens in theaters on November 22, 2024.
