20 Nov REVIEW – ‘Wicked’ is one of the greatest movie musicals ever made
It’s no exaggeration to call Wicked one of the biggest movie musical events in recent history. Using the term “highly anticipated” to describe this film barely captures the fever pitch of excitement surrounding its release. After 20 years on the Broadway stage, getting a film adaptation off the ground has been a monumental effort. This is a much-delayed film production that’s essentially been “in development” for more than a decade (at one stage, it was announced as coming in December 2019). But that’s all in the past now. It’s finally time for one short day in the Emerald City. Good news, fellow Ozians. The wait was entirely worth it.
A soaring spectacle that’s as visually dazzling as it is emotionally resonant, Wicked is undeniably one of the greatest movie musicals ever made. Led with incredible gusto by Cynthia Erivo and Ariana Grande (officially credited with her full name Ariana Grande-Butera) and directed with endless style and impressive flair by Jon M. Chu, it’s an exhilarating, entertaining, and deceptively moving extravaganza that effortlessly captures what makes this beloved work so undeniably magical. Praise Oz, this one is an absolute triumph.
Set in the Land of Oz long before Dorothy arrived from Kansas, this origin tale centres on Elphaba Thropp (Erivo), the misunderstood, sharp-witted, emerald-skinned outcast destined to become the nefarious Wicked Witch of the West. After a difficult childhood where she felt rejected by both society and her father, the Governor of Munchkinland (Andy Nyman), Elphaba focuses her attention on supporting her paraplegic younger sister, Nessarose (Marissa Bode).
While accompanying Nessarose to her new home at the prestigious Shiz University, Elphaba crosses paths with Galinda Upland (Grande), an effervescent, ambitious, and self-assured socialite who instantly becomes the most popular girl on campus. When Elphaba loses her temper and displays the magical gifts she’s attempted to understand since childhood, she catches the attention of Madame Morrible (Michelle Yeoh), the Headmistress of Shiz University who occasionally offers sorcery classes to students she deems worthy. Naturally, Elphaba is deemed a perfect candidate, leading to an unexpected enrollment alongside her sister.
As the deeply opposing personalities of these two students lead to numerous clashes and they both set their eyes on the deliciously dreamy but desperately vain new student Fiyero (a wonderfully dashing Jonathan Bailey), Elphaba’s training with Madam Morrible captures the eye of the Wonderful Wizard of Oz (Jeff Goldblum), the all-powerful ruler residing in the lavish Emerald City. But just as Elphaba is dreaming of one day learning from the great Wizard, she uncovers a growing plot to enslave the land’s population of anthropomorphic citizens including her favourite teacher, Dr. Dillamond (voiced by Peter Dinklage).
For years, there has been fierce debate surrounding who would/should be cast in the two iconic roles initially played by Tony Award winner Idina Menzel and Kristin Chenoweth. They’re mighty big shoes to fill and Erivo and Grande may not be the most immediately obvious casting choices. But all doubt is thrown to the wind as Erivo and Grande make the roles entirely their own while still paying homage to what Menzel and Chenoweth laid down 20 years earlier. Their chemistry as two sparring rivals who soon become the closest of sisterly friends is simply gorgeous. Much like Erivo and Grande themselves, Elphaba and Galinda are the yin to each other’s yang. Polar opposites in so many ways, yet, when combined, it’s nothing but pure harmony.
Wicked has always been Elphaba’s tale to lead and Erivo is more than up to the task. She deftly delivers a deeply nuanced performance as a tortured soul who conveys so much through her eyes that teem with the pain of a young woman ostracised due to the unusual colour of her skin and her temperamental powers. Elphaba is a richly complex character. She seemingly doesn’t care what the world thinks of her, but that’s clearly a mask worn by a lonely woman who desperately wants to be accepted. With the film’s extended running time, Erivo is able to slowly unfurl Elphaba’s layers to offer something more introspective than we see on stage.
By now, you should be well aware this Tony, Grammy, and Emmy-winning diva can belt like nobody’s business (Google her 2016 Tony Awards performance, if you’re uninitiated), so it’s no surprise to see Erivo handle Elphaba’s numerous musical numbers with utter ease. There’s a richness and spirit to Erivo’s voice that perfectly matches every moment Elphaba is living. Erivo’s vocals soar in the hopeful “The Wizard and I” and she’s allowed to have some fun in the catty “What Is This Feeling?” But nothing can prepare you for the magnificent “Defying Gravity” finale sequence, which is so goosebump-inducing and genuinely breathtaking that it’s almost overwhelming. It’s a landmark moment in a theatre and even grander on the big screen.
With little acting experience in her career, it’s Grande who is the real surprise package here. Given her successful music career, we knew she’d effortlessly manage Galinda’s songs. Blessed with the soprano vocal range like Chenoweth, Grande immediately grabs your attention with the exposition-filled opening number “No One Mourns the Wicked” and has an absolute ball with the playful, show-stopping “Popular.” But it’s her staggeringly spot-on comedic timing that really highlights why Grande was born to play this role. From her endless physical humour to her flawless delivery of numerous zippy one-liners, Grande is undoubtedly hilarious.
In the hands of a lesser performer, Galinda could be a dreadfully unlikeable character. She’s terribly entitled and wildly short-sighted, but Grande innately understands she’s no villain. Galinda’s conceited confidence ultimately hides her desire to be truly special; something she knows deep down she is not and maybe never will be. Elphaba represents everything she’s not and therein lies Galinda’s initial attempts to humiliate and belittle her. Grande gets it so right in navigating Galinda’s path beyond superficiality to something deeper. She’s a flawed heroine, but that’s why she’s so damn lovable. And Grande plays it all so immaculately. Many are already calling for an Oscar nomination. Frankly, she deserves it.
As for the supporting cast, Bailey absolutely shines in his biggest film role to date. Much like Galinda, Fiyero is initially privileged and arrogant, but Bailey instils him with so much undeniable charm that you can easily understand why literally everyone at Shiz is falling under his spell. The seeds are sewn for Fiyero to open up in Part Two, but, for now, Bailey nails it as a seemingly one-dimensional hunk with hidden layers to explore. Yeoh is quietly commanding as the Headmistress whose character arc is best left unspoiled, while the ever-kooky Goldblum is a natural choice for someone as enigmatic as the great Wizard of Oz.
With lavish production design from Nathan Crowley, impeccable costuming by Paul Tazewell, and expansive musical numbers featuring dozens of extras and energetic choreography by Christopher Scott, Chu brings a genuine sense of the Golden Age of Hollywood to every single moment. His commitment to using physical sets as much as possible is something we rarely see these days. Obviously, Chu has to employ CGI wizardry to elevate his visuals even further, but it all blends so seamlessly that you can’t fault it. After all, Oz is an entirely fantastical setting. Yet, thankfully, Chu gives it all so much heart and warmth to create something totally otherworldly but entirely inviting.
After the trailers were released, there was plenty of heated online discussion surrounding the film looking too washed out, particularly compared to the eye-popping technicolor explosion that is The Wizard of Oz. It’s hard to deny there are several moments where odd lighting choices and the camera’s positioning combine to create a rather bland aesthetic. But these unfortunate missteps are so few and far between that it’s nowhere near a fatal flaw. Chu more than makes up for these slips with numerous sequences overflowing with boundless bright colours, especially once Elphaba and Galinda arrive in the luxurious cornucopia of the Emerald City.
And then there’s the other point of online contention; the decision to split this film into two parts. I will admit to being pessimistic about this being nothing more than a ploy to double the potential gargantuan box office coming Universal’s way. The entire original stage show is 2 hours and 45 minutes long, which is almost the same length as this first film’s 160-minute running time. Screenwriters Winnie Holzman and Dana Fox expand the story’s scope to explore the characters and settings in deeper ways to offer something more richly satisfying on a narrative level. And, to be honest, ending on such a stunning moment like “Defying Gravity” demands an extended break before the action picks up again. Think of this merely as a very, very, very long intermission.
Holzman and Fox use this expansion to further examine the original work’s powerfully pertinent statements on oppression, bigotry, fascism, political propaganda, and abuses of power in ways that simply weren’t possible on stage. As much as Wicked has always been about the power of female friendship, it’s also a deceptively shrewd statement highlighting the perils of authoritarianism and how corrupt individuals can feed on people’s fears to manipulate them against a common “enemy.” Without getting into spoilers, the revelations of the third act lay the foundation for part two’s storyline which will feel disturbingly relevant in light of current American events.
Successful stage-musical-to-movie-musical adaptations are a rare breed. What works in a theatre doesn’t always translate to the screen. But Chu has skillfully delivered one of the best adaptations there has ever been. It’s an old-school wonder that pays tribute to both the Broadway show, The Wizard of Oz, and the rich history of the movie musical genre while still firmly standing on its own two feet. It’s as whimsical as it is moving. It’s a spectacular vehicle to showcase the staggering talents of its two gifted leading ladies. It’s a joyous celebration of female empowerment and the bond of sisterhood. And, quite simply, it’s one of the best films of the year.
Distributor: Universal Pictures
Cast: Cynthia Erivo, Ariana Grande-Butera, Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Peter Dinklage, Michelle Yeoh, Jeff Goldblum
Director: Jon M. Chu
Producers: Marc Platt, David Stone
Screenplay: Winnie Holzman, Dana Fox
Cinematography: Alice Brooks
Production Design: Nathan Crowley
Costume Design: Paul Tazewell
Editor: Myron Kerstein
Music: John Powell
Running Time: 160 minutes
Release Date: 21st November 2024 (Australia)