“Are people born wicked? Or do they have wickedness thrust upon them?” — Glinda The Good Witch
Hollywood’s skepticism about musical adaptations has been definitively challenged by director Jon M. Chu’s (In the Heights, Crazy Rich Asians) ambitious two-part adaptation of Wicked, which is garnering overwhelming praise from both critics and audiences. Even those unfamiliar with either the aforementioned musical or The Wizard of Oz will find themselves captivated by the magical realm of Oz, brought to life through the spectacular sets and costumes. At its core, this is the story of how Elphaba became the Wicked Witch of the West, hinged on the irresistible chemistry between Ariana Grande’s Galinda/Glinda and Cynthia Erivo’s Elphaba. Supported by a stellar ensemble, including Jonathan Bailey as Fiyero, Michelle Yeoh as Madame Morrible, and Jeff Goldblum as The Wizard of Oz, Wicked presents itself as that rare passion project that lives up to much of the hype.
Based on Gregory Maguire’s novel, Wicked: The Life and Times of the Wicked Witch of the West, the movie expands beyond the musical’s constraints, taking in more from the source material to flesh out Oz’s world. Macguire asks the question: What exactly is evil? In the film’s retrospective prologue, an Oz citizen echoes this sentiment by asking Glinda whether the Wicked Witch was always evil. And well, that’s for the audience to decide. But the film ultimately frames Elphaba as a misunderstood hero. Not just the Wicked Witch of the West, but the most powerful wizard to ever exist in Oz.
The film follows Erivo’s Elphaba as she arrives at Shiz University (a flamboyant liberal-esque institution) accompanied by her wheelchair-using sister Nessa Rose (Marissa Bode). Elphaba is immediately marked as an outsider because of her green skin. And well, that’s sort of ridiculous for a place that accommodates wizards and munchkins. When Grande’s Glinda accidentally volunteers to be her roommate, their relationship blossoms from “unadulterated loathing” to a profound friendship. Under Madame Morrible’s guidance, Elphaba’s powers continue to grow beyond expectations. Along the way, Prince Fiyero arrives at Shiz and captures one or more hearts, bound to end tragically.
Some believe that Elphaba’s story contains a potent allegory about racism and discrimination. The audience’s assumptions about what constitutes a “good witch” are challenged by her unwaveringly noble actions and love for the creatures of Oz. It is very significant and poignant then that a Black actress was chosen for the role of Elphaba.
The greatest strengths of Wicked lie in its spectacular musical performances and visual grandeur. Grande’s opening “No One Mourns the Wicked” truly sets a high bar that the production consistently meets, and her harmonies with Erivo show how perfectly well they were cast. Choreography elevates the spectacle and emotion of key scenes, especially in the songs “What is This Feeling?” and “Dancing Through Life.”
Where Wicked seems rigid is in the lighting choices. Scenes in the daytime look like they come straight out of Marvel’s Eternals: pale and uninspired. In IMAX, this disorientation is intensified; unfortunately, the smaller the screen, the better. Inspired color and cinematographic choices attempt to make up for this technical fault, but to no avail; this is an issue that cannot be glossed over. Some have suggested the film should have taken technicolor inspiration from The Wizard of Oz or Pearl, and a bit of that pizazz would have helped.
Since Idina Menzel and Kristin Chenoweth graced the Broadway stage in 2003, Wicked has become an unstoppable phenomenon. The film excels in honoring that legacy while creating something fresh for both longtime fans and newcomers. As anticipation builds up for part two, many are wondering what Broadway musical Hollywood will adapt next. Ahem, Hamilton…
4/5 Stars