It’s been a long, winding, Yellow Brick Road to get to the film adaptation of the smash Broadway musical Wicked, based on the Gregory Maguire novel. An attempt at a film adaptation was initially announced in 2012 after the success of Les Misérables (2012), but, since then, the film has seen several directors, release dates, and COVID delays. For longtime fans of the musical, the prospect of a film adaptation seemed doomed.
Then along came Jon M. Chu. Soon, the pieces started falling into place, casting announcements were made, and it was off to the races.
It almost feels as though the universe was waiting for all involved to come together and deliver a joyful, soaring adaptation that seems destined to be a surefire crowd-pleaser.
Wicked (subtitled Part One in the opening title) recounts the backstories of the women who would go on to become the witches of Oz before Dorothy arrived. Because Part One is based on Act I of the stage show, the film focuses on Elphaba Thropp (Cynthia Erivo), her unlikely friendship with Galinda Upland (Ariana Grande-Butera) during their time at Shiz University, and the path that leads her to become the infamous Wicked Witch of the West.
The decision to split this story into a two-part film was initially met with hesitation and skepticism. However, in doing so, Winnie Holzman (who wrote the book of the stage show) and Dana Fox are able to create some much-needed filler and craft space for the characters to breathe. While I am a major fan of the musical, the biggest critique of the show is that it is rushed; things move quickly and require the audience to fill in the gaps.
With the additional time, Holzman and Fox add more nuance to Elphaba and Galinda’s initial rivalry and make their turn into friends feel earned. We get scenes of Elphaba’s private tutoring with sorceress Madame Morrible (Michelle Yeoh) that provide more insight into her abilities and importance in this universe. The socio-political climate of Oz is explored more thoroughly, and the inciting incident of Animals losing their right to speak doesn’t feel so shoehorned in.
Chu also utilizes the extra time to build out the musical numbers, extending a handful of songs well beyond their original run time. As demonstrated with his adaptation of In the Heights (2021), Chu has a true eye for musical numbers and how to shoot them, maximizing their energy. Thanks to his partnership with choreographer Christopher Scott, the numbers are excellently and electrically staged. All at once, we’re watching something classic yet dynamic and fresh.
Paul Tazewell’s costume design acts as extensions of the characters and enhances their identity. His play with textures never fails to dazzle and his intention radiates off the garments. He also infuses Oz with a specific cultural identity and rich history as we look at the more general populous, specifically with the Shiz University uniforms, the citizens of the Emerald City, or the Munchkinlanders. This fictional land feels alive with its own unique history and sociology.
The film’s decision to opt for practical sets pays off in full as Production Designer Nathan Crowley immerses the audience in a gorgeous, distinct interpretation of Oz that never feels like a cheap imitation. It enhances the spectacle and contributes to the classic, golden-age feel. While grand and opulent, the sets are also incredibly detailed. In a scene where Elphaba accidentally causes magical havoc, a wayward bench cracks a mural of the Wizard (Jeff Goldblum). As the pieces crumble, we see a mural of Animals beneath it, foreshadowing the more sinister themes to come as the story unfolds.
This loving attention to detail permeates not only the technical aspects of the film but also the performances.
Erivo’s portrayal is singular and beautiful. I knew her casting was a brilliant choice, yet she managed to blow my lofty expectations out of the water. She honors the women who’ve played the role prior while crafting Elphaba from the ground up in a way that feels unlike any portrayal we’ve seen before. Erivo discussed at length about drawing on her personal experiences with the role; in doing so, Elphaba feels incredibly lived and dimensional in brilliant new ways.
Elphaba’s resigned pain feels palpable but never overpowers her tenacity. She is wary of the world that has repeatedly failed her but still hopes to be proven wrong. Her eyes flicker with hope at what the world could be and the opportunity to shape it into something better. There’s something electric about Elphaba even when she’s quietly observing. Erivo absolutely deserves to be in every Best Actress conversation this season as the force of nature steps into and holds onto the spotlight.
And that’s not even mentioning the powerful live vocals that absolutely blew the roof off the AMC. The way Erivo uses her voice as a tool to chart Elphaba’s arc is subtle and brilliant. At the top of her first number, The Wizard and I, Erivo delivers a lovely yet restrained vocal performance. She sounds amazing, but you can feel there’s something intentionally being held back. Elphaba’s never been encouraged to vocalize her inner feelings, much less want anything for herself. It crescendos into a powerful moment, but Erivo is still not fully unleashing.
As the film progresses, the knot in Elphaba’s chest loosens and her voice becomes freer. Even in the gentle I’m Not That Girl, Erivo offers some playful riffs as her character allows herself to indulge in this silly fantasy. By the time we arrive at the show-stopping Defying Gravity, she completely surrenders all restraint. There’s a hunger and ferocity in Erivo’s voice. She’s not focused on singing “pretty.” She’s delivering a full-on war cry. The number is dynamic and liberating as we watch this woman finally step into her uninhibited self.
Erivo’s co-star, Grande-Butera, wanted the role of Galinda so badly that she started vocal training months before she even had the audition. She always had an uphill battle ahead of her, trying to convince the general public that she was the right choice for this iconic theatre role. When her casting was announced, though, I felt at ease. It made perfect sense to me. In a video of her getting the role, Grande-Butera tearfully says, “I’m gonna take such good care of her.” I’m pleased to report that she does all that and more in her refreshing take on the famous Good Witch. The award buzz you’ve been hearing is well-deserved.
I’ve found that with many prior interpretations on stage, Galinda can fall into the trap of becoming a cartoon character. Grande-Butera imbues Galinda with a refreshing dimensionality. She makes the bubbly blonde much more than silly lines and operatic outbursts. When we first meet Galinda in No One Mourns the Wicked, there is a deep sadness beneath the bright and bubbly exterior. Galinda finds herself in the unique position of being a beacon for these people celebrating the demise of the very person she’s also mourning. Grande-Butera subtly and expertly crafts this balance while delivering a Broadway-caliber vocal performance.
As Galinda repeatedly attempts to get into a famed sorcery seminar with Madame Morrible, it’s far more than her not getting her way. We see all over Grande-Butera’s face that Galinda has something to prove, not only to her peers but to herself. You can feel her desperation to be as talented as she is privileged and earn a place in the history books. She wants to be taken seriously and is willing to do whatever it takes to get there. Galinda’s journey to discover what it means to actually be good shines all the more in Grande-Butera’s hands.
These flickers of vulnerability are interwoven with what is a masterful comedic performance. Grande-Butera flexed her comedy chops with her stints hosting SNL, but Galinda is on a whole new level, effortlessly blending heightened physical comedy and off-the-cuff one-liners. What really sells the comedy, though, is the sincerity with which Grande-Butera delivers the work. She believes every word she is saying no matter how absurd. Grande-Butera’s Galinda operates in her own little world while everyone rotates around her.
While both women shine on their own, the sparks really fly when the two come together. There’s a magnetic, palpable connection between the two that is exhilarating to watch. They convey so much with just body language alone, be it their animosity, tension, and, ultimately, their intimacy. There is a moment in the Ozdust Ballroom when Elphaba arrives dressed in a hat Galinda gifted her as a joke. In another act of defiance, Elphaba dances alone as onlookers gawk at her while Galinda realizes just how cruel she’s been to her. She soon joins Elphaba in the dance as a form of apology and solidarity. At this moment, so much is silently exchanged between the two, but we feel every ounce of it because of these two gifted actresses.
Our two leads are joined by a pitch-perfect ensemble who all rise to their level. Jonathan Bailey oozes charm and is utterly intoxicating in his number. He molds Fiyero into someone beguiling and intriguing. He is a bonafide movie star and Wicked proves that.
Yeoh sinks her teeth into Madame Morrible and makes a meal out of her. Morrible is a tricky character to pull off, but Yeoh’s very presence commands the reverence and fear that Morrible requires of those she shares a space with.
Goldblum, Ethan Slater, and Marissa Bode, while all underused, are lovely presences and made me excited to see what they do with the culmination of their characters’ arcs in Act II.
Wicked is not without its flaws. Alice Brooks’ cinematography is baffling at some points. Some moments feel lush, vibrant, and alive, only to be immediately followed by scenes where characters are entirely backlit and flat. It’s not as prevalent as some early trailers would lead you to believe, but there are some instances where the costumes aren’t as saturated and the buildings don’t shimmer as bright as they could.
Despite its few flaws, Wicked feels like a story we need right now. It’s timely and prescient while still allowing audiences to escape. It examines two characters and their journey toward goodness in a world that seems to be moving steadily away from that mission. Elphaba seems naturally inclined to do what she feels is right but Galinda struggles to risk her ambitions in the name of true goodness. Galinda believes there is a way to work in the system despite its flaws while Elphaba wants to tear it down.
We watch as a government unifies its people by giving them an enemy to root against despite the fact that the so-called enemy may be the most moral of them all. We are asked to challenge preconceived notions and dig deep into the character of people rather than run with snap judgments.
While the darker themes feel relevant, Wicked is also a beautiful bundle of joy that will have audiences bouncing in their seats and begging for Part Two immediately. This film acts as a balance of light and dark, much like life.
A two-part film adaptation of a major musical twenty years after that musical’s debut felt like a major swing on Universal and Chu’s part. But, much like the film encourages, sometimes we have to leap and do it anyway. Chu’s leap will surely delight longtime fans of the musical and welcome new ones with open arms. As someone who’s been in love with this show since he was nine years old, I can happily say this is everything I’ve been waiting for over the last twenty years and I couldn’t be happier.
Review Courtesy of Adam Patla
Feature Image Credit to Universal Pictures via Fox 10