Wicked arrives on the big screen with lofty expectations based on its legendary Broadway legacy and tumultuous production journey. Director Jon M. Chu and Universal's adaptation is a mixed bag—visually stunning but at times directorially and dramatically uneven, it captures the spectacle of Oz yet occasionally stumbles under the weight of its own spectacle.
Cynthia Erivo's Elphaba is the film's beating heart. Her powerhouse vocals and nuanced performance bring depth to the misunderstood green witch, particularly in quieter moments that the camera can capture in ways impossible on stage. Erivo's rendition of the legendary Defying Gravity is a tour de force, witnessing the coalescence of raw emotion with technical brilliance. Her ability to convey Elphaba's intrinsic strife through subtlety adds layers to the character that even devoted fans of the musical might find revelatory.
Ariana Grande surprises as Glinda, balancing the character's bubbly exterior with glimpses of insecurity and growth. Her comedic timing is a thing of uncanny genius, while her campy kindness in Popular is spot-on. Grande brings unexpected depth to Glinda's journey from a self-absorbed college girl to a conflicted leader. Her pop-inflected vocals blend seamlessly with the more traditional musical theatre score, particularly in ensemble numbers where her distinctive timbre and near incomparable vocal ability elevate each track she features on.
The supporting cast adds colour to Oz, with Jeff Goldblum's eccentric Wizard and Michelle Yeoh's steely Madame Morrible standing out. Goldblum brings a perfect blend of charm and menace to the role, while Yeoh's Morrible is a formidable presence yet lacking the campy delicious villainy of the stage version. Jonathan Bailey's Fiyero, while charming, feels underutilized, a casualty of the film's overstuffed runtime. His chemistry with Erivo and Grande is palpable, but the love triangle lacks the development it deserves, especially to viewers who know where the story will lead.
Visually, the film is a paradox—simultaneously vibrant and oddly muted. Chu's direction excels in the grand musical numbers, with What is This Feeling and One Short Day bursting with colour and energy. The Emerald City dazzles, its Art Deco-inspired design a feast for the eyes. However, in quieter moments, the film adopts a desaturated palette that, while perhaps intended to convey the darker undertones of the story, sometimes feels at odds with the magical world of Oz, a symptom of the grey-coded malaise of visual baldness currently infecting all of Hollywood.
Where Wicked stumbles is in Chu's direction of the more intimate scenes. While he captures the spectacle of Oz beautifully, he sometimes struggles to convey the emotional nuances that make the stage production so powerful. Dialogue-heavy scenes can feel static, lacking the dynamism of the musical numbers. This unevenness in pacing is exacerbated by the decision to split the story into two films, resulting in a first installment that occasionally feels bloated and unfocused.
This visual contradiction curiously mirrors one of the film's central themes: the dichotomy between appearance and reality while Oz may seem like a colourful utopia, beneath the surface, lie threads of oppression and fear.
The film's attempts to update certain elements for modern audiences yield mixed results. A subplot addressing animal rights feels heavy-handed and detracts from the main narrative. However, the exploration of systemic oppression in Oz is more nuanced and effective, drawing parallels to real-world issues without becoming preachy. The portrayal of the Wizard's propaganda machine and the manipulation of public opinion also feel particularly relevant and poignant in the contemporary political climate.
The film's exploration of the nature of evil is also surprisingly, particularly nuanced. Through Elphaba's story, we see how seemingly good intentions can be twisted, how resistance can be branded as wickedness, and how narratives of antagonism are constructed to serve those in power. The Wizard's propaganda machine, more fully realized in this adaptation, provides a timely commentary on the manipulation of public opinion and the dangers of unchecked authority.
The film's treatment of identity and self-acceptance is one of its strengths. Elphaba's journey from shame to embracing her uniqueness resonates strongly, particularly in today's era of conversations surrounding representation. The message that one's differences can be a source of strength rather than weakness is powerfully conveyed, especially in Erivo's rendition of Defying Gravity.
After having seen the film, the decision to split the story into two films seems much like a double-edged sword. It allows for more breathing room to explore character motivations and backstories, yet also results in pacing issues, particularly in an enjoyable yet slightly bloated first act. At nearly three hours, the film occasionally drags, especially for those unfamiliar with the source material. Some plot points feel rushed or underdeveloped, while others are drawn out unnecessarily.
For musical theatre enthusiasts, the film offers a fascinating study in adaptation. It showcases both the possibilities and limitations of translating stage techniques to cinema, from the use of close-ups during emotional solos to the expanded scope of ensemble numbers. The choreography, while less prominent than in some movie musicals, effectively blends traditional musical theatre with more contemporary styles. This hybrid approach may point to a new direction for movie musicals, one that acknowledges theatrical roots while embracing cinematic possibilities.
The film’s true power lies, unsurprisingly, in Stephen Schwartz’s still-glorious score. Each number arrives with a weight of expectation, and for the most part, Chu and his cast deliver. Defying Gravity remains a soaring, goosebump-inducing anthem, even if its staging leans a touch too heavily on CGI spectacle. Popular cleverly utilizes the film's expanded setting, transforming Glinda's "makeover" into a whirlwind tour of Oz fashion and social etiquette.
Perhaps where the film struggles most is in bridging the gap between stage artifice and cinematic realism. The constant shift into song, a given on Broadway, can feel abrupt and awkward on screen, disrupting the narrative flow rather than enhancing it. The inherent theatricality of the source material—the stylized costumes, the exaggerated emotions—doesn't always translate seamlessly, resulting in a film that feels caught between two worlds: neither a fully realized cinematic vision nor a faithful recreation of the stage experience.
Ultimately, Wicked is a flawed but entertaining spectacle that honours its source material while carving out its own identity. It's a reminder of musical theatre's power to tackle complex themes through song and spectacle, even if it doesn't quite reach the heights of the best movie musicals. As the first part of a two-film adaptation, it leaves viewers eager to see how the story concludes – and whether the second instalment can truly defy gravity.
The film's success may have broader implications for the future of movie musicals. In an era dominated by franchises and IP, Wicked represents a significant investment in a genre that has seen mixed results in recent years. Its performance could influence studio decisions on future musical adaptations (Hadestown please!), potentially opening the door for more Broadway hits to make their way to the big screen.
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