In my humble opinion, the Wicked movie adaptation is nothing short of enchanting! Cynthia Erivo‘s portrayal of Elphaba brings the character to vibrant life, capturing both her resilience and heartache with an emotional depth that resonates deeply. Her journey mirrors her own life experience in many ways; just as Elphaba learns to embrace her uniqueness, Cynthia has become a beacon of strength and individuality in the entertainment industry.
Among the iconic tunes from the musical “Wicked” is the song titled “Popular”. However, this title might be considered a modest description for the 2003 stage production that has been watched by over 65 million people. The show’s themes of female camaraderie, self-empowerment, and discrimination evidently resonated strongly with audiences, resulting in approximately $1.7 billion in Broadway earnings and around $6 billion globally. Producers have been cautious about adapting this lucrative property for the big screen, but their patience has proven to be rewarding, as evidenced by Jon M. Chu’s visually stunning movie adaptation. This film not only expands upon the original material but also pays tribute to the era of Technicolor MGM musicals, with “The Wizard of Oz” being a notable example among them.
Universal can rely on a massive pre-existing fanbase spanning over two decades, who affectionately refer to themselves as “The Ozians” or “Wickhards.” It’s not hard to envision them standing up and applauding enthusiastically when the film is released in cinemas – it seems likely that there will be singalong screenings. Additionally, a few unexpected appearances towards the end of the movie are sure to surprise fans greatly. The filmmakers understand their primary audience’s preferences perfectly and they certainly deliver an impressive product.
If you felt that the stage production of “Wicked” was overly feminine or excessively dramatic, or if you found its strong messages about otherness being exploited by rising fascism to be too forceful, then you’re probably going to have a similar reaction to the movie.
Initially, one common complaint about the show was that its complex storyline seemed excessively packed, leading to a feeling of bloat. When it was revealed that the movie would be split into two parts (with Part 2 set for December 2025), many viewers questioned the need for such an extension. However, with Part 1 clocking in at over two hours and forty minutes, it’s hard to argue that it lacked length. Instead, the expanded screen time provides the material with additional space, enhancing character development and emotional impact significantly.
Chu may not be comparable to Vincente Minnelli, occasionally his elaborate musical sequences verge on disorder, but he manages to capture what truly matters. Specifically, the evolving feelings between two young witches are portrayed effectively. One is a lively blonde princess, who is superficial and self-centered, yet to uncover her compassionate side, and the other is an outcast, considered strange due to her birthmark of green skin but endowed with remarkable abilities.
The brilliant choice for the characters – Ariana Grande as the underestimated magic student who transforms into Glinda, the Good Witch of the North, and Cynthia Erivo as Elphaba, the future Wicked Witch of the West – is the film’s trump card. Their voices are powerful, clear, and flexible, a quality that surprises many after numerous movie musicals featuring singers with only average talent who are heavily Auto-Tuned.
Grande and Erivo give Stephen Schwartz’s songs — comedy numbers, introspective ballads, power anthems — effortless spontaneity. They help us buy into the intrinsic musical conceit that these characters are bursting into song to express feelings too large for spoken words, not just mouthing lyrics and trilling melodies that someone spent weeks cleaning up in a studio. The decision to record the songs live on set whenever possible is a major plus.
The two performers have a strong connection to musical theater, giving them the ability to seamlessly move between dialogue scenes and songs. They effortlessly blend one element into the other, avoiding any awkward pauses or signs that might signal, “Now I will sing for you.” This makes their performances appear smooth and natural.
In modern musical movies, it’s often challenging to immerse oneself fully. However, Grande and particularly Erivo, who delivers her finest screen performance yet, infusing Elphaba with a deeply emotional and raw vulnerability, manage to pull us into the narrative and the characters’ experiences so convincingly that we momentarily forget the genre’s artificial nature.
Chu’s captivating world creation plays a crucial role here. Alongside his skilled collaborators – cinematographer Alice Brooks, production designer Nathan Crowley, and costume designer Paul Tazewell – he meticulously constructs a vivid, engrossing fantasy realm that feels real and immersive.
The movie makes extensive use of visual effects, yet it skillfully avoids the pitfalls of overusing CGI that often burden films. Instead, digital technology is utilized more as a tool to enrich or serve specific purposes such as incorporating talking animal characters and blending multiple shots together. Conjuring the mystical world of Oz, Crowley has crafted large-scale sets on soundstages and backlots, providing a tangible environment for the actors to perform in rather than being confined in front of green screens.
Locations such as Shiz University, where Galinda, originally known as her, and Elphaba begin their first year, or the enchanting woodlands surrounding them, or the famed Emerald City, where they venture to encounter “The Great and Powerful Oz” (Jeff Goldblum, delighting in the over-the-top flair of his performance), are vividly portrayed with a mix of grace and creativity.
Perhaps the most captivating creation could be none other than Munchkinland, a picturesque village boasting uniquely designed, straw-roofed houses nestled amidst undulating meadows meticulously striped with rows of vibrant tulips. With so many recent films appearing as if they were filmed through dirty lenses, the radiant hues and illumination in Wicked provide a refreshing delight on their own.
Drawing inspiration from Winnie Holzman’s book and Schwartz’s melodies, originally derived from Gregory Maguire’s novel, screenwriters Holzman and Fox (known for “Cruella”) remain true to the musical’s structure while enriching the narrative and characters in meaningful ways. Moreover, director Chu maintains a swift tempo to avoid any unnecessary story padding.
The reimagined origin story for L. Frank Baum’s timeless children’s book, “The Wonderful Wizard of Oz” (1899), unfolds similarly to its stage adaptation, with the people of Oz rejoicing over what they believe to be the demise of the Wicked Witch of the West – details about which will be unveiled in Part 2.
Glinda gracefully arrives in Munchkinland, enclosed within a bubble and asking “Don’t I look fantastic?” She dons a radiant pink tulle ballgown that shimmers like a scrumptious dessert, marking the beginning of numerous divine designs by Tazewell. Since the character of Elle Woods in ‘Legally Blonde’, there hasn’t been such an abundance of pink on a central figure.
A character inquires if it’s accurate that Glinda and Elphaba used to be companions, which sets off a flashback to the narrative’s origin, where the fundamental query arises: Is one inherently evil at birth, or is evil forced upon an individual?
Before the main story unfolds, there’s a significant prelude focusing on Elphaba’s birth. This scene is notably overseen by her bear nanny Dulcibear and a goat midwife. The arrival of Elphaba into the world causes quite a surprise due to her unique green skin. Upon seeing his newborn daughter, Governor Thropp (played by Andy Nyman) expresses dismay, exclaiming, “Take it away!” In an intriguing nod to the story of Carrie, Elphaba showcases her inherent powers from infancy as surgical tools mysteriously rise towards the ceiling when she’s handled.
The governor’s disapproval of his daughter intensifies when his younger sister Nessarose (portrayed as a teenager by Marissa Bode) enters the picture. It is later revealed that precautions using herbs during pregnancy, taken to prevent Nessarose from being green, resulted in her being born with paraplegia. This condition becomes the basis for Elphaba’s mistaken feelings of guilt.
It’s Nessarose, rather than Elphaba, who attends Shiz. On move-in day, her protective older sister is present, but when she senses a danger for her younger sibling, she reflexively exhibits a frightening display of magical abilities. This power catches the attention of Madame Morrible, a well-known dean of Sorcery Studies (played by Michelle Yeoh), who decides to enroll Elphaba at Shiz and provide her with personal tutoring.
This initial scene carries a strong resemblance to Hogwarts, with Tazewell’s unconventional attire, reminiscent of Thom Browne designs, adding an intriguing twist. The grand entrance of Glinda along the waterways, adorned with pink baggage, instantly commands attention. She swiftly gathers a pair of chattering admirers in Pfannee (Bowen Yang) and ShenShen (Bronwyn James), as well as the immediate affection of kind-hearted Munchkin Boq (Ethan Slater, renowned from Broadway’s SpongeBob SquarePants musical). Glinda will skillfully use Boq’s affections to her advantage.
Concurrently, Elphaba is depicted as a tormented outcast subject to cruel ridicule, her connection with Glinda initiating on a basis of mutual resentment when they are forced to share a room. In the playful duet “What Is This Feeling?”, the two main characters express their raw hatred towards each other, displaying a screen chemistry that will mature and intensify as their bond transforms throughout the story.
As an outsider herself, Elphaba finds a sense of kinship when she discovers that Dr. Dillamond, a wise goat and history professor voiced by Peter Dinklage, is among the few remaining creatures allowed to teach. Later, she secretly listens to a gathering at Dr. Dillamond’s residence involving other non-human beings. They share concerns about the gradual exclusion of their kind from influential roles in Oz. They predict that a time isn’t far off when animals will no longer have a say, stripped of their rights to speak and potentially facing detainment.
Although this theme of discrimination was inherent in the original content, the portrayal of a minority being marginalized, suppressed, and essentially erased from society unexpectedly resonates with current events, particularly the recent election period and the contentious topic of immigration. People across the political spectrum in America may interpret it differently – should they perceive any similarity.
Simultaneously, Mme. Morrible subtly encourages Elphaba to view her unique trait as a skill rather than a burden, helping her to master her powers for the first time. As the story unfolds, Elphaba finds herself in the early stages of a romantic entanglement involving Glinda, whom she previously had friction with but now shares a friendship, and Fiyero, a charming prince student who is smitten with life (played by Jonathan Bailey). In the song “Dancing Through Life,” he expresses his carefree philosophy. This number takes place in the Shiz library, one of Crowley’s impressive architectural feats, featuring rotating circular bookshelves and moveable ladders. However, Fiyero might not be as superficial or self-centered as he appears.
In this rendition, Morrible subtly plants the notion that Elphaba’s powers might someday grant her access to the Emerald City, marking the initial of Erivo’s series of standout performances with “The Wizard and I” – a title that has puzzled grammar enthusiasts for over two decades. The song initially unfolds as a reflective “I want” number from a girl who had never dreamt of desiring anything, eventually swelling into an empowering declaration of self-belief in the climactic finale. Chu masterfully coordinates the peak to position the triumphant Elphaba on a breathtaking cliffside, a scene that resonates with both fairy tales and classic movie musicals.
When Elphaba is called to meet the Wizard, she requests that Glinda accompanies her on a dazzling, clockwork-driven Emerald City express train (a surprising move by Crowley). However, their visit there deepens Elphaba’s abilities but also brings about disenchantment and spurs decisive action. This moment is powerfully portrayed in “Defying Gravity” by Erivo, a performance that echoed its climactic stage presence and holds an equally lofty position in the two-part movie.
Holzman and Fox’s screenplay cleverly exploits the quirky vocabulary from Oz (like “hideousity,” “scandalicious,” and “moodified”), with a particular emphasis on Glinda’s arrogant snobbishness. In her most significant film role yet, Grande brings that quality to life with an abundance of sweetness and a keen sense of humor. Her humorous take on “Popular” during Elphaba’s makeover attempt is a joy to watch. However, the script also intensifies dramatic elements such as injustice, oppression, and the idea of evil being used as a means of blame-shifting.
Instead of resembling the more subdued versions of adversarial pairs like Flotsam and Jetsam from “The Little Mermaid”, Yang and James are somewhat amusing but not fully utilized, contributing little to the overall plot. In contrast, Bailey, Slater, and Bode prove more impactful, setting up crucial character developments in Part 2 (particularly in the stage musical’s storyline). Lastly, Yeoh and Goldblum gradually unveil the sinister motives lurking beneath their authoritative facade.
However, it’s Erivo who plays Elphaba in “Wicked”. It was Elphaba, not Glinda (originally played by Kristin Chenoweth), who won the best actress in a musical at the 2004 Tonys against Idina Menzel. The character of Elphaba has a more significant emotional journey in this adaptation, making it even more impactful.
Perhaps it’s her deeply felt portrayal that makes her performance so impactful, a trait that reminds us of the role that first brought her recognition, in the 2015 Broadway revival of “The Color Purple.” Her eyes serve as a vivid reflection of her character’s lifelong pain and rejection, or stubborn pride and rage, often encompassing this spectrum and beyond within a single scene, song, or line reading. Her Elphaba is a heroic outcast that one can’t help but support.
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2024-11-19 23:27