As a long-time musical theater enthusiast and someone who has seen more than their fair share of stage productions and film adaptations, I must say that “Wicked” has left me absolutely spellbound! Having grown up with the original cast recording of the Broadway production, I was initially skeptical about how well this story could translate to the big screen. However, director Jon M. Chu has masterfully brought the magical world of Oz to life in a way that is both visually stunning and emotionally resonant.
Since its creation, L. Frank Baum’s Oz series has been deeply connected to cinema. Approximately eight years after the publication of The Wonderful Wizard of Oz, directors Francis Boggs and Otis Turner transformed this enchanting universe into a unique blended cinematic production. Silent film adaptations also appeared in 1910 and 1925, paving the way for Judy Garland’s iconic portrayal that captivated pop culture. Since then, it has become unusual not to have a new adaptation of Oz come out during each decade.
For as long as I can remember, I’ve been a musical enthusiast with a special affection for “Wicked”, the stage adaptation of Gregory Maguire’s 1995 novel that delves into the untold tale of the Wicked Witch of the West. Whether it was my middle or high school theatre classes adorning their walls with “Wicked” posters, or my musical-loving uncle filling his home with “Wicked” memorabilia and frequently referencing the show, “Wicked” has been a constant presence. Hits like “Defying Gravity” and “Popular” have permeated the airwaves. Just as L. Frank Baum’s Oz realm has been a recurring theme in films, so too has “Wicked” found its way into popular culture over the past two decades, becoming an integral part of my own life story.
The adaptation of “Wicked” by Jon M. Chu presents a challenging task, given the familiarity we have with the songs and locations from numerous previous movie interpretations. However, “Wicked” manages to achieve something remarkable that matches its magical reputation – it breathes fresh life into this world. Contrasting his 2015 adaptation of “Jem and the Holograms,” which fell short in realizing its full potential, Chu’s approach for “Wicked” is brimming with creativity as he brings the story to life on the big screen.
Initially, Chu and cinematographer Alice Brooks establish a confident tone with their visually striking approach to Wicked. In the opening scenes, the camera gradually pulls back to reveal vibrant fields of flowers encompassing Munchkinland. The inhabitants start to sing without using dialogue that satirizes singing characters, a common trope in many recent film musicals. Unlike productions such as Emilia Perez and Joker: Folie a Deux, which are overly self-aware of following in the footsteps of classics like Little Shop of Horrors and Singin’ in the Rain, Wicked boldly discards creative hesitancy to great impact.
As a gaming enthusiast, I’m excitedly recalling my virtual journey in “The Wizard of Oz: Shiz University” RPG. The Wicked Witch of the West, she’s finally gone! Huzzah! Glinda (Ariana Grande), floating down from a bubble to share this fantastic news with the townsfolk. But before she vanished, someone asked if she had ever known that wicked sorceress. It turned out they were old friends from their days at Shiz University. It was there that Glinda befriended Elphaba (Cynthia Erivo), an ostracized outcast from Munchkinland everyone dislikes due to her green skin. Whether it’s her father, the kids, or adults, Elphaba is always shunned by strangers. She’s the complete opposite of young, confident Glinda, who was popular with a wealth of resources at her disposal.
In the scholarly setting, Elphaba and Glinda’s witty banter is reminiscent of feathers lodging in my teeth. I admit, after years of asserting that dividing “Wicked” into two films was foolish, it appears I may have eaten some humble pie. The motivation behind this decision was undeniably commercial. It seems the Universal executives were eager to extract every last penny from “Wicked,” which had been in development limbo for so long. Interestingly, transforming the first act of “Wicked” into a standalone film has proven highly effective. The high school/college drama is engaging enough to carry one continuous storyline. Furthermore, the delightful chemistry between actors like Erivo, Grande, and Jonathan Bailey (portraying the handsome Winkie prince Fiyero Tigelaar) significantly enhances the overall experience.
Wicked skillfully avoids both hastiness and unnecessary prolongation, striking a perfect balance. This is largely due to screenwriters Winnie Holzman and Dana Fox meticulously crafting Elphaba’s character development within the 160-minute span of this film alone. By the end of Wicked, Elphaba remains richly nuanced as a character, leaving room for further growth. Even if you were to conclude your Wicked journey at this point, you’d still find satisfaction in her transformation. In essence, Wicked resembles The Fellowship of the Ring more than Mockingjay in terms of multi-part adaptations.
The runtime of “Wicked” is brimming with the stunning visual displays that musicals should offer, and director Stephen Chu skillfully manages to swiftly pass over the 160-minute length. Unlike the unsettling imagery of “Cats,” the lukewarm melodies of “Joker: Folie a Deux,” or the monotonous lyrics of “The Prom,” “Wicked” offers musical numbers that are vibrant and energetic. The filmmakers, Stephen Chu, Alice Brooks, and Myron Kerstein, aren’t shy about showcasing numbers like “Dancing Through Life” in expansive, sweeping shots. These wide frames provide ample space to fully appreciate the captivating dance choreography and practical sets. It takes a collaborative effort from many talented individuals to produce any film, but especially one as intricate as a musical. Similar to Steven Spielberg’s magnificent “West Side Story,” the artistry of everyone involved truly stands out in “Wicked” due to its expansive cinematographic style. You can admire how numerous talents come together to create something extraordinary when the images are wide enough to accommodate multiple dances and intricately designed sets!
In these melodies, there are unique settings that couldn’t be achieved within the original Broadway stage of “Wicked.” For example, animals expressing their worsening predicament in Oz through shadow puppetry can be found in “Something Bad.” As for “The Wizard and I,” this song initially has Elphaba singing in a very constricted setting on the Shiz University campus. As the tune progresses, her environment expands bit by bit until she ends up singing the last verse in an open, sunlit field. The future holds just as much vast potential for Elphaba as the endless field she’s singing about.
The “Popular” video, much like it, is visually captivating in a similar vein. Whoever turned this iconic tune from the musical “Wicked” into a fashion/makeup montage bathed in pink and hinting at lesbian undertones deserves a promotion, if not a house deed (assuming I ever own one). The song itself is already enjoyable, adding another gem to the treasure trove of show tunes such as “The Nicest Kids in Town”. It would take directors like Dennis Dugan, Robert Iscove, or Tom Hooper to mess it up on screen. Yet, the creative execution of “Wicked”, from cinematography to lighting to Grande’s expressive acting (like when she appears to swim on her back on the floor of her suite) is remarkable. What makes it even more delightful is that “Popular” is performed through Grande’s Glinda character romping around in a pink nightgown, interacting physically with Erivo’s Elphaba. It feels like a gay-themed goth/femme romantic fan fiction has come to life, regardless of the galaxy you hail from, that’s movie magic!
This whole set piece encapsulates how Wicked takes something so full of potential and doesn’t just rest on its laurels. Even having heard so many of these songs for decades of my life, Wicked’s specific creative impulses made it like I was hearing these ditties for the very first time. Tangible craftsmanship is evident on the screen making conceptually familiar lyrics fresh once more. Unfortunately, one key visual impulse left a bad taste in my mouth: the designs of the CG animals. Characters like goat professor Doctor Dillamond (Peter Dinklage) are realized here as just realistic digital critters wearing human clothing. This design approach is strange on several levels. For one thing, Wicked so heavily utilizes practical sets and costumes that fully CG characters stick out like a sore thumb. Couldn’t puppets or animatronics be used instead?
In a different phrasing: By making Dillamond and his animal companions look incredibly real, they lose their human qualities. The scene focusing on Dillamond’s shocked reaction to anti-animal graffiti should stir deep feelings of sorrow, but his mostly inexpressive super-realistic face fails to convey the appropriate shock. A more anthropomorphic approach towards Dillamond and other animals would have fitted better within Chu’s otherwise vibrantly fantastical universe. Similarly, the Grimmerie, a magical book, appears puzzlingly digital in its realization. It seems that there were alternatives for these aspects that could have been implemented.
As a fan, I’m grateful that creative extensions in modern fantasy films, which tend to overemphasize realism in surreal worlds, aren’t the rule but rather the exception in Wicked. The sets designed by Nathan Crowley are truly remarkable, like Shiz University that feels authentically inhabited. He isn’t shy about using vibrant colors even in unusual places such as the shimmering water-topped roof of an underground dance club. The incorporation of Brutalist architecture into the Grand Wizard’s palace is a particularly inspired choice. Paul Tazewell’s costumes are also a visual delight on screen.
In the pulsating world of this spectacle, the actors deliver performances that hook you right from the get-go. Sometimes, it’s hard to pinpoint exactly why an actor shines so brightly on screen, but other times, it’s as clear as day. Erivo and Grande add layers upon layers to their characters, making their portrayals of Elphaba and Glinda truly remarkable. Yet, what sets them apart is the sheer joy of watching them together. Their on-screen bond is so natural and unforced that their journey from enemies to friends becomes a spellbinding tale. Just seeing them hold hands or support each other would melt even the coldest heart! I found myself grinning ear-to-ear throughout their scenes!
Instead of boasting about discovering Cynthia Erivo before she became famous, I’ve always admired her since I first saw her six years ago in “Bad Times at the El Royale” and “Widows”. It’s wonderful to see her excel as Elphaba now. Her emotional depth and captivating presence haven’t faded over the past few years. She brings just as much weight and dedication to her Oz character as she does to her more earthbound roles in film and television. Erivo’s co-star, Ariana Grande, delivers a compelling Glinda with her exceptional comedic talents. A particular moment right before “Popular” where Grande portrays Glinda angrily stomping away and tossing her head onto the bed had me laughing out loud. She shines on her own and emotionally resonates when working alongside Erivo.
Modern Disney live-action adaptations have shown us that even some of the greatest tunes in existence can’t guarantee a decent musical. Though Howard Ashman’s lyrics are timelessly brilliant, they couldn’t save 2017’s Beauty and the Beast from being average at best. It takes more than a rich history to create a satisfying film, be it a musical or otherwise.
In a delightful twist, the film “Wicked” enters the scene with enough grandeur and panache to captivate even the most jaded movie enthusiasts. Unlike the overused autotune or awkward editing seen in films like “The Greatest Showman,” this musical doesn’t shy away from its roots. Actors here harmonize, tap their feet, and express deep emotions, just as one would expect in a classic musical.
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2024-11-19 23:15