By 
A MAGICIAL AND MUSICAL TRIUMPH
While the cinematic world of filmmaking has been quite a vast and celebrated tapestry of storytelling throughout the various decades, the dazzling and palpable theatrical stage of Broadway and its lyrical music has found its way to enchant viewers within their productions. The allure and fascination of Broadway shows has been infamous, with immediate thoughts drumming of imagery of show-stopping musicals with top notch production values, a wide variety of thespian acting talents in their vocalization calibers, and some incredible stories that stay with you long after you left the theater. While productions have come and go on the smaller stages (i.e. off Broadway), some of the best Broadway musicals are some of the biggest in the world, some becoming memorable iconic and truly timeless in their own right. From old showtune favorites like Les Miserable, Cats, and Phantom of the Opera to modern inventions such as Hamilton, Dear Evan Hansen, and Waitress, and to even jukebox musicals like Rock of Ages, School of Rock, and Cabaret, Broadway musicals have captivated audience for years that have only signs of “final curtain call” of these productions any time soon. Given the popular nature of these musical shows, Hollywood has always taken an interest in translating these tales from stage to the silver screen, with many finding box office success within their endeavors. Now, Universal Pictures and director Jon M. Chu presents the latest film to be adapted from a Broadway musical with the movie Wicked, based on the 2003 musical stage play. Does this motion picture “defy gravity” within its cinematic representation or is it a sloppy and oversaturated production that “no one mourns for the wicked”?
THE STORY
In the land of Oz, Elphaba Thropp (Cynthia Erivo) was born green, conceived by her mother, Melena (Courtney-Mae Briggs) from a licit affair with another man, with her father, Frexspar (Andy Nyman), the Governor of Munchkinland, making her an outcast in her own family, finding comforting bond with her younger sister, Nessarose (Marissa Bode) throughout her childhood years. While escorting her sibling to Shiz University, Elphaba is pulled into the campus spotlight drama when her skin color shocks the student body, including the self-absorbed popular girl Galinda Upland (Ariana Grande). After a shocking display of hidden magical powers from her, Elphaba catches the attention of Madame Morrible (Michelle Yeoh), the Dean of Sorcery at Shiz University, who sees the potential in the young green-skinned woman and invites her to enroll at college for further examination of her mystical abilities. Assigned to share a room with Galinda, the pair are at odds with each other, with the conceited and privileged woman, who is struggling to become an aspiring sorceress, is not interested in living with the “social outcast” for the year, watching Elphaba receive special attention training from Madame Morrible, who, in turn, struggles to control powers. As the school year continues, Elphaba and Galinda learn to cooperate over time, forming an unexpected bond of friendship with one another and making contact with charmingly vapid Fiyero Tigelaar (Jonathan Bailey), a prince from Winkie Country, who shares different feelings and opinions towards the two women. As Elphaba powers are nurtured and focused, her curiosity grows about an unsettling happens in Oz that involves the mistreatment of the talking animals in the realm, looking to take her concerns to the enigmatic Wizard of Oz (Jeff Goldblum) to get to the bottom of this darkness. All roads lead to the gleaming Emerald City as both Elphaba and Galinda unravel the truth behind such nefarious deeds, putting the two on a path that will eventually test their friendship and ultimately determine how the people of Oz will perceive them.
THE GOOD / THE BAD
Borrowing a few lines from my review of 2019’s Cats…. although I do love movies, I do have to say that I do quite enjoy theatrical stage productions as well. Technically, both are quite similar in projecting storytelling through imagery and characters, but something about theater stage shows is quite alluring…. sometimes magical. Of course, while I’ve seeing several smaller scale shows, including ones that my highs school drama club put on (which were still great), I have seeing some of the larger / famous ones out there from the actual big theater companies that produced them, including Les Miserable, Joseph and the Technicolor Dreamcoat, Cats, Phantom of the Opera, and The Lion King, Of these grouping, I would have to say that my favorite would have to be Phantom of the Opera. The story, the characters, the costumes, and the music were all working together in a way that resonated with me and I fell in love with Andrew Llyod Weber’s gothic “music of the night” love triangle. Les Miserable was my first Broadway show (I think I was in 3rd or 4th grade), so it was a little bit hard for me to sit through the play during its entirety, but it was still good and I actually did follow it. Joesph and the Technicolor Dreamcoat was a lot of fun, lively, colorful, and plenty of bouncy (and catchy) numbers throughout. Cats, while I do love the song “Memories”, that was probably my least favorite. I can’t remember much of it (most of it was a blur to me) and it didn’t stick with me like the others. The Lion King was a lot of fun, especially since animated film was my personal favorite Disney movies, so I knew that I was going to like it, which I did. There were a few other ones that I really wanted to see the actual Broadway show, including Hamilton (with the original cast), Rent, and (of course) Wicked. Overall, I feel that the theatre productions of Broadway musical still have their place special place in their fandom and viewers alike, with many finding the affinity towards the dramatic and boldness that can only be found on the theater stage.
This brings me back to talking about Wicked, a 2024 fantasy musical and the latest Broadway musical to be adapted into a feature film. While I personally never saw the actual Broadway show of Wicked, which first made his appearance back in October 2003 with music and lyrics written from Stephen Schwartz and story material from Winnie Holzman, I did actually hear about the play for quite some time, with many “theater drama kids” falling head-over-heels for the acclaimed musical show. As mentioned, I always wanted to see it, but never had the chance to. I did, however, read the 1995 novel titled “Wicked: The Life and Times of the Wicked Witch of the West” by Gregory Maguire back, which the musical is based off of. I think I read Maguire’s book (first out of four in the series) and was very interested in how it presented the familiar tale of the Wizard of Oz’s antagonist and how events surrounding the iconic L. Frank Baum novel “The Wonderful Wizard of Oz” were utilized to tell this untold story. It’s great and (again) a very interested read, which made me even more curious to see the Broadway show, but…more importantly….to see a motion picture based off either Maguire’s original novel or even the musical production.
So, there has always been a lot of talk of a Wicked movie, which has been a lot rumors and suggestions of a film adaptation dating all the way back to 2012 when Universal Pictures acquired the right (and interest) to produce such a project. After multiple delays and with more recent interest to the rise of popularity of studios revisiting musicals into full length feature films (i.e. West Side Story, Dear Evan Hansen, In the Heights, The Color Purple, Tick, Tick… Boom!, etc.), this Wicked film project was officially announced in 2021, with director Jon M. Chu helming the picture and casting actress Cynthia Erivo and actress / singer Arianna Grande selected to play central character roles of Elphaba and Galinda. After that, I didn’t hear much about the project; only snippets here and there and the upcoming musical film that was set to be released in November 2024. I do remember put the movie on my “Top 15 Most Anticipated Films of 2024” and, while I was writing that post, I read that the film was going to be spilt into two feature movies. While not the most uncommon thing, I was quite interested in the decision, especially since studio really don’t like doing two-part films unless for good reason. Regardless, I was more interested in seeing the movie after that. Then the film’s marketing campaign began and wow…. I was super excited, especially the movie trailers, which showcased the film in all of its marvelous musical glory. The previews alone got me hooked as it looked like Universal Pictures was placing a large emphasis on the feature as the movie looked expensive and to be determined as holiday blockbuster money maker.
So, while there have been some minor grumbling during the press releases for the feature (those points concerning the movie’s posters edits), it goes without saying that I was quite excited to see how Wicked was going to play out when it was scheduled to be released on November 22nd, 2024 and how critics, causal moviegoers, and Wicked fans (both of Maguire’s novel and of the musical) were going to receive this film adaptation endeavor. I did get the chance to see the movie on its opening way and have strived to get this review done as fast as I can (a bit complicated due to my work schedule with the holidays). So, acknowledging that, I am ready to share what I personal thought of this musical adaptation. And what did I think of it? Well, to be quite honest, I really liked it. Despite a few minor complaints, Wicked (or sometimes referred to some as Wicked: Part One) is magically and sweeping adaptation of the Broadway musical that’s soars high above expectation due to its incredible presentation, a respect for the Broadway musical, and some fantastic performances from the film’s two leads. The movie doesn’t just fly on the cinematic wings of theatrical boldness….it quite literally defies gravity.
Wicked is directed by Jon M. Chu, who previously directed such films as Now You See Me 2, In the Heights, and Crazy Rich Asians. Given his familiarity of what he was able to do with Lin-Manuel Miranda’s musical in In the Heights, Chu does seem like quite the suitable and competent director to bring Schwartz’s popular Broadway musical to the big screen. To his credit, Chu does this effectively well and captures what made the popular musical so magical and mystifying and displays it all on a new theatrical medium. True enough, Chu’s vision for Wicked does certain come off as a sort of “passion project” by showing an appreciation for the show’s popularity and key factors as well as the source material that derived from Maguire’s novel. This combination brings together a truly gorgeous presentation that displays the grandeur / show-stopping power that the Broadway musical captures as well as bringing a theatrical production full of cinematic imagination. Indeed, Chu has tremendous respect for the material that made up Wicked’s story and artistic integrity (both in its literature form and stage production) and never disrespects or disregards what has made this iconic untold tale from The Wizard of Oz narrative, which is definitely felt throughout the film in its entirety.
There is no doubt that Chu’s Wicked is quite an ambitious project and perhaps the most “high profile” film of his career (so far). I mean to utilize The Wizard of Oz sandbox playground, and the Broadway show as a painting canvas for a modern theatrical feature film is indeed no small feat and it’s quite clear that one needs a clear thought process of how to translate such material the correct way. Thankfully, Chu never loses sight of that “insightfulness” of what “Wicked” …for lack of a better term….” Wicked”. It’s everything that one could expect from a large-scale studio film adaptation, with Chu pulling out all the stops to bring this musical to life in a way that speaks to modern moviegoers, but also to its faithful fanbase that have been around for almost more than two decades. This, of course, brings up the story’s thematic messages that Chu emphasizes in and out of the feature and how it can be relatable to all. As a musical, Wicked has plenty to visual show within its rolodex of singing and dancing from start to finish, but the story being told lies at the heart of it all as well as the various themes that are being touched upon. Of course, the main crux of Wicked’s story comes from the rivalry and unlikely friendship between Elphaba and Galinda, with Chu carefully handling those moments quite well and feels earned throughout. Thus, the themes of friendship, being different, and the hardships / complexities of being misunderstood are immediately display to great effect and are at the forefront of Wicked’s presentation. There are also other themes that I am highlighted in the movie, including growing up, becoming passionate of ideas and fighting for them, finding your own identity and beliefs, and how political influences can be found in almost every corner of the world from the lowest of commoners to those in position of power. There are several other ones out there, but those are the ones that stuck out at me the most and can be easily extrapolated towards humanity in general, especially in today’s modern times. Thus, given the lengthier runtime and the motion picture platform, Chu makes sure to emphasize these themes heavier in his interpretation of Wicked and it comes off more for the better, enhancing and enriching the story being told and showcasing that there is more to offer in this narrative beyond musical numbers in a whimsical fantasy world.
While Chu keeps the picture faithful to the stage show, he does make the most of the feature’s lengthy runtime (as well as the whole two-part film endeavor) by expanding on the tale being told and incorporating new sequences and exploring more of the mythos from Maguire’s novel. Interestingly, Chu present Wicked as a long flashback, with the feature’s opening minutes taking place towards the end of the narrative with the aftermath of the Wicked Witch of the West’s death and how the people of Oz are celebrating, with Galinda (now Glinda) reflecting on past events that lead up to that moment. It’s a narrative plot device structure that has been utilized many times before, but it gives a different approach to how the Broadway show was presented, with the screenplay by Winnie Holzman and Dana Fox interjecting several new ideas and expanding on certain notions made to help give the feature film something “new” to offer in this theatrical representation. There is also more time showing in Elphaba’s childhood years, displaying the hardships that she had to endure before arriving at Shiz University. Again, it’s a little scene, but still helps build up the character and her personal struggles. Likewise, the movie also highlights that wickedness that is occurring throughout Oz, with the populace of talking animals being treated as second class citizens and showing how they are being almost “phased out” of the current political landscape of Oz, which is clear representation of colonialism. There are a few other scenes that play throughout the movie that appear to be new or expanded upon from the musical, which I think is a good thing and gives Chu’s Wicked something more to offer that just a “one for one” reproduction of the stage play.
Of course, the musical aspect of this adaptation is definitely the highlighted moments that many were looking to see in Wicked and I am happy to report that these sequences are truly magical to behold. There is no doubt that the draw to Wicked (the Broadway musical) was in the various songs that are incorporate throughout the stage play, with Schwartz’s lyrics and numbers projecting memorable moments that have lived on in the hearts and minds of the fans and in the theater world. Chu takes all those notions into account for his cinematic vision of Wicked by embracing those songs to great effect. Literally almost each song is handled with respect and the same type of theatrical flair, which will definitely delight fans of the show, with the talent involved bring their respective charisma and passion on working on this production….and it clearly shows. Of course, the film’s two big musical moments “Popular” and “Defying Gravity” are the true cinematic spotlight scenes that Chu places a lot of emphasis on (as did the Broadway show) and encapsulate the musical project in the same exact way. Both sequences, which are to depict both Elphaba and Galinda in their respective “defining” character embodiments and a brought to life with such attention to the dramatic flair and cinematic brilliance; resulting in some poignant musical numbers that are spectacular and just a great joy to watch. Even all the songs such as “Dancing Through Life”, “What is This Feeling?”, “One Short Day”, and “The Wizard and I” are also very lively and awe-inspiring to watch, with Chu framing each number with the same type of theatrical fervor and integrity that can be found in any theatrical production of Wicked. Basically, if you were worried about how the movie will handled the various songs from the musical….you can rest assured that Chu’s Wicked displays and presents these scenes to great scope, scale, and effect that will surely delight fans.
In addition, like most musicals, the inclusion of choreographed dancing and big show-stopping movements are utilized to help bring these productions to life, with Chu pulling out all the stops and projecting the same type of energy and theatrical boldness one might expect from a Broadway show. The synchronized dancing and the lively gestures are well-staged and well-executed, with all the extra dancer bring their respective “A” game to the production and delivers some grandiose scope to the musical numbers. Big kudos to all of those extras and the choreographers for bringing these sequences to life with plenty of zeal, gusto, and exuberance.
Overall, I felt that Chu did a phenomenal job in bringing Wicked, translating the beloved Broadway musical to the big screen in a way that delivers on its premise and promise by creating an immersive magical world that is teeming with lyrical singing, energetic dancing, and moving drama.
For its presentation, Wicked is absolutely a visual feast for the eyes in both its practical and CGI effects, projecting a fantastical cinematic feeling of the realm of Oz therein. There is no doubt that this particular movie carries a very large production budget, with the feature toting a $150 million cost, which makes Wicked a very blockbuster-ish price tag for a musical. That being said, the movie itself is absolutely gorgeous within its visual aspects and background setting. There is no doubt that the Land of Oz (in all of its various depictions across a variety of mediums) is a treasure trove of imagination and creativity; rivaling other fictitious lands of children’s fantasy realms like Neverland and Wonderland. Thus, the sandbox where this musical story is set in is ripe for an opportunity to explode with theatrical splendor and spectacle boldness. Within the cinematic realm, the 1939’s The Wizard of Oz and 2013’s Oz the Great and Powerful are perhaps the best known depiction of Oz, with a more attention to hyper surrealism / dream-like quality to them in describe Baum’s world. Instead of going that route, Chu decides to present his vision of Oz in a way that’s one foot in the reality and one in fantasy; resulting in such an imaginative and awe-inspiring, while also being quite functional and believable. The practical usage of the sets are highly developed and intricately detailed, which gives off a flights of fantasies appeal within its colorful designs and whimsical nuances, which is most notable within primary settings of Shiz University and even Munckinland. This is in contrast to the Emerald City, which still retains the fantasy look yet incorporates more of a steampunk flavoring within its majestic and grandiose cityscape. Plus, the various set decorations for these scenes and the costume attires (which are absolutely stunning) are widely colorful, which (again) blends the fanciful notion of people within the realm of Oz as well as being visually appealing for a musical depiction. The end result is simply spectacular, with the film’s “behind the scenes” team, including Nathan Crowley (production design), Lee Sandales (set decorations), Paul Tazewell (costume design), as well as the entire hair / makeup team and art direction department, bring a very lush and immersive movie world to life that’s bountiful within its creative imagination yet still seems quite practical and lived in,
While the practical sets help sell the believability, the visual effect shots help bring the more fantastical moments to life and I do have to say that they CGI renderings are pretty good and are definitely on par with today’s modern blockbuster endeavors (in a good way). This helps elevate some of the more “bigger” moments, especially towards the end, which enhances and enriches the film’s world without oversaturating it to a point where it becomes too overbearing and / or a distraction. In addition, the film’s cinematography work by Alice Brooks is incredible to behold, showcasing some great filmmaking techniques in usage of sweeping camera angles to capture some dramatic shots as well as some techniques of shadowing and lightening; capturing some cinematic moments that breathes life into the film throughout. Lastly, while the film’s musical moments are definitely the big highlight of the feature, the movie’s score, which was composed by John Powell, delivers a very moving and fanciful musical composition that definitely compliments Schwartz’s iconic songs and helps feeling those scenes with dramatic flair in both its quieter and bombastic sequences.
There wasn’t much that I didn’t like about Wicked as I did greatly enjoy the musical feature film. However, if I did have draw some criticism, it would be some minor ones. What are they? Well, for starters, like many have stated about this movie….it’s quite a long one, with the project clocking in at around 161 minutes (two hours and forty-one minutes) in total length. Yes, I do have to admit that the movie can feel a little bit too long in the tooth and quite possible (and most likely) should’ve been reduced some scenes here and there to cut down the runtime to a more manageable two and twenty minute mark and still retain a lot of the core fundamentals from the Broadway musical as well as expanding on a few notions made for the movie itself. Thus, the classic “trimming the fat” for Wicked could’ve been a bit more beneficial throughout the proceedings.
In addition, as a whole, I did feel the pacing (at times) during the first half were a bit slow and sluggish. Granted, I sort of knew that was going to be the case, especially with the movie being split into two parts, as the movie is given a lot of time to introduce the setting and the various characters (both major and minor ones) in a somewhat unedited way. That being said, this does cause the movie too feel quit elongated in the first act and does hit a few snags in the pacing department. Again, not a super big “deal breaker” for me, but it does take a bit (more than usual) to get things rolling in Wicked, especially since the narrative is padded with musical numbers in a few self-indulgence moments.
Lastly, the sort of “big elephant” in the room about this musical film adaptation is that this whole “stage to silver screen” endeavor is divided into two-parts. As mentioned, I do like the idea, welcome it, and don’t believe it to be a detriment to Wicked’s cinematic representation, but the backlash of it means that the film itself is only half of the tale being told, with various story threads and characters left intentionally unfinished and / or pushed aside for storytelling purpose. This, of course, the perhaps the main crux problems of doing two part movie endeavors as seeing in several other productions out there, including Harry Potter and the Deathly Hallows, The Hunger Games: Mockingjay, Twilight: Breaking Dawn, and Dune. While I do like most of those two part films presentation, the problem is that certain story narrative threads and characters (mostly supporting / side ones) are a bit awkward handled, especially if they are meant to play a larger part in the latter half of the plot and pushed more into the second one. As I stated above, Wicked does feel like a proper closure due to the film ending at the end of the first act of the Broadway musical, which (again) does seem right to do so, but this also means that several points and players (in the grand scheme of things) are introduced and then pushed aside, especially when the third act focuses mostly on Elphaba and Galinda. Again, not a huge criticism, but something I think could’ve been handle a little bit better.
Where Wicked truly does shine is in the film’s cast, with the selected acting talent excitedly able and eagerly willing to play these iconic characters from the Wizard of Oz story and / or created from Maguire’s novel. The energy and charisma that this group of actors and actresses give equally matches their fictitious characters that they are playing on-screen, with each one relishing the chance to take their own personal portrayal mark on these roles with the same type of theatrical bravado and delightful boldness of that of the theater stage. None shine more (and the brightest) in the film than the film’s two main lead characters of Elphaba and Galinda, who are played by actress Cynthia Erivo and actress / singer Arianna Grande. Erivo, who is known for her roles in Widows, Harriet, and Bad Times at the El Royale, has definitely displayed her acting chops in such defining / meaty character roles that have a lot of substance within their characteristics. Thus, to tackle such a role as Elphaba from Wicked, an outcast character that is caught up in tragedy and heartbreak, seems like a juicy role to play and Erivo is all the better willing to play such a part. To her credit, Erivo does an incredible job in the role, portraying Elphaba with a sympathetic light, a hint of dry wit, and a hidden warmth that finds comfort in those who are different. These traits encapsulates the characteristics behind Elphaba and Erivo brings all those to cinematic platform with tremendous force and command. She definitely holds her own in every scene she is in, especially in the various extreme moments where she is either meek and docile or loud and bombastic. As to be expected, the character of Elphaba holds a lot of emotional and dramatic weight in the narrative of Wicked, which Erivo does a fantastic job showcasing, which (again) plays up to the sympathetic tones that are thrusted upon the character. Plus, it also helps that Erivo can sing and is simply sublime whenever she let loose and really “vocalize” her voice within the songs. She is great in the more subtle song as well as in the duets collaborations, but her true moments where Erivo shines the absolute best is when she really “belts it out” showstopper songs like “The Wizard and I” and “Defying Gravity”. I simply loved her in the role and she owns the character inside and out.
Likewise, Grande, who is known for her roles in Sam & Cat, Victorious, and Don’t Look Up, perfectly encapsulate Galinda Upland in such a humorous way that is quite infectious and fun to watch. While Erivo’s performance showcases more of the gravitas and more dramatic moments, Grande plays up the more lighthearted moments and definitely channels the classic “mean girls” attitude within her portrayal of Galinda. Assuming it like the Broadway show, the character of Galinda in Wicked is a far cry from the sugar plum fairy that was she was famously known for in the beloved film, presenting the pre “Good Witch” from The Wizard of Oz story as self-absorb and egoistical woman, who cares too much of what people think of her and more interested in materialistic ideas and things. Grande falls head-over-heels in playing up those inane quirks and presents Galinda in the part of “mean girl” high school / college girl. To be honest, I was quite invested in her character, especially since she has a lot of character growth that happens throughout the movie, which begins to show when she start to befriend Elphaba. I was surprised to see how much comedy that Grande brings to the role as she plays up the comedic timing moments beautifully and does act like a great character foil to the more “serious” counterpart in Elphaba. Plus, like Erivo, she physically embodies the character from beginning to end and delivers a very whimsical yet impactful character in Galinda. Also like Erivo, Grande has the vocal pipes and handles her singing parts perfectly, especially in the her big showstopping spotlight musical number of “Popular”. All in all, Grande is match made in heaven with Galinda and imbues the character with plenty of personality and humor, yet also steady pace of growth as the feature builds to its conclusion.
While both acting talent deliver some great performances, what also makes their portrayals of Elphaba and Galinda work so well is that both Erivo and Grande get along with each other and share some great on-screen chemistry with each other. Their tension of rivalry and unlikely friendship definitely comes across quite well with the pair getting along with one another when they share the screen and it comes off beautifully. This then makes Elphaba and Galinda’s relationship feels earned and holds emotional weight as the narrative progressives.
Behind Erivo and Grande, the movie does shine on a prominent spotlight on character of Fiyero Tigelaar, the charismatic Winkie prince who attends Shiz University and catches the attentions of both Elphaba and Galinda there, and who is played by actor Jonathan Bailey (Bridgerton and Broadchurch). I think that Bailey did a great job in playing the role of Fiyero, playing up the cocky and self-absorb bravado that the character has been known for and does it all with such dramatic (and almost debonair flair) that makes fun and amusing throughout. Of course, his big moment is definitely is the musical sequence “Dance Through Life” where his character truly shines through and takes centerstage in this moment, with Bailey simply enjoying the production and theatrical scene with great ease. Additionally, it’s great to see Bailey showcase difference sides of Fiyero in his various interactions with Galinda and Elphaba, making him quite the layered individuals that has more to offer than just dashing good looks. The problem, however, is that the character is introduced and only is important during the middle portion (the second act) of Wicked and gets immediately dropped when the story moves away from Shiz university and towards the climatic ending in the Emerald City. It’s quite clear that there is more to talk and show about Fiyero, but seems that this movie is merely setting him for a larger part in the next Wicked feature. Stil, for better or worse, Bailey was quite charmingly magnetic as Fiyero.
The same be can also said to several other characters, including Bog Woodsman, a Munchkin who attends Shiz University and who is secretly in love with Galinda, and Nessarose Thropp, Elphaba’s paraplegic younger sister, who are played by actor Ethan Slater (Redheads Anonymous and Fosse/Verdon) and actress Marissa Bode (Carsleepers and No Roles Written) respectfully. It’s quite clear that the movie’s story is setting these two particular characters up for something important as Chu places a large emphasis on them in certain sequences in the feature. However, after act two ends, their characters, like Fiyero, get immediately dropped, with the movie moving away from them and focusing more on Elphaba and Galinda. Again, it’s a bit understandable, especially where the movie’s finale ends, but the movie (as a whole) merely sets these two characters up for something a bit more in the next film and not so much importance in this one. Still, both Slater and Bode did a good job in bringing these two characters to life in Wicked and will be interesting to see what they bring to the table in part two.
The other two larger supporting characters in Wicked comes off as the two most “seasoned” acting talent of the cast, with actress Michelle Yeoh (Everything Everywhere all at Once and Crazy Rich Asians) and actor Jeff Goldblum (Jurassic Park and Independence Day), who play the characters of Madam Morrible, the Dean of Sorcery at Shiz University, and The Wizard of Oz, the infamous ruler of Emerald City. Yeoh, who had work together with Chu on Crazy Rich Asians, commands every scene she is in and plays the part of Madam Morrible deliciously well with ease and great effect. It’s quite obvious that she is having fun playing the role, especially since there seems more to her character than meets the eye, and definitely enjoys playing the role. I loved her as Madame Morrible. Likewise, Goldblum, who plays up his usually “Goldblum” shtick persona with such gleeful amusement and entertainment, is quite the delightful treat as The Wizard of Oz. He’s quite likeable and quite the charmer, yet also showcases the trickster carnie of trickery and deception of which the iconic character is known for. Though he appears in thee third act, it’s clear that there is more to him going to be shown in the next film. Still, both Yeoh and Goldblum bring their screen presence to Wicked and relish the chance to play such characters in the movie.
The rest of the cast, including actor Peter Dinklage (Game of Thrones and Cyrano) as the voice for Dr. Dillamond, a Goat and history professor at Shiz University, actor Bowen Yang (The Outs and Isn’t It Romantic) as one of Galinda’s close friends at Shiz named Pfannee, actress Bronwyn James (Harlots and Lockwood & Co.) as one of Galinda’s close friends at Shiz named ShenShen, actress Keala Settle (The Greatest Showman and Every Other Weekend) as the headmistress of Shiz University Miss Coddle, actor Aaron Teoh Guan Ti (Scene House and Artemis Fowl) as Shiz University student Avaric, actor Colin Michael Carmichael (Hot Fuzz and Black Mirror) as professor at Shiz University Professor Nikidik, actor Andy Nyman (Unforgotten and Judy) as Elphaba and Nessarose’s father and the Governor of Munchkinland Governor Thropp, actress Courtney-Mae Briggs (Captain Laserhawk: A Blood Dragon Remix) as Elphaba and Nessarose’s mother Mrs. Thropp, actress Sharon D. Clarke (Holby City and Tau) as the voice of Dulcibear, an animal bear who acts as a nanny to the Thropp family, actress Jenny Boyd (Coronation Street and Causality) as the voice of the Wolf Doctor that who helps deliver Elphaba during her birth, actor Stephan Stanton (Rogue One: A Star Wars Story and Monsters at Work) as the voice of Fiyero’s horse, make up the rest of the remaining characters in some supporting / minor roles. While some of their screen time is limited when comparing to the main leads and larger supporting characters, this collective group does some impressive work within their sum parts and certainly do shine whenever they are called upon their respective scenes.
FINAL THOUGHTS
Are people born wicked…. or do they have wickedness thrust upon them? Such a question is poised as the untold story behind the social outcast Elphaba begins, unraveling the sequences of events that led her being branded as the Wicked Witch of the West in Oz in the movie Wicked. Director Jon M. Chu’s latest film takes the popular Broadway musical show of the same name and translate the stage production to the silver screen, masterfully blending the story’s narrative, which was originally based off of Gregory Maguire’s novel, with the showstopping dancing and musical numbers of the play and produces something quite strikingly remarkable and bombastically bold theatrical endeavor. Yet, surrounding the all the timely dancing, singing, and mythmaking lore within The Land of Oz, Chu keeps the feature squarely focused on the relationship between characters of Elphaba and Galinda and their unlikely friendship that places great strain as events unfold and force them to choose opposing sides. Despite some minor criticism towards its lengthy runtime and some pitfalls of the somewhat classic notion of a part one of two film presentation, the movie successfully flies high within its filmmaking presentation, with special thanks to Chu’s passionate direction, a faithful transition from stage to screen, conveying strong and relatable themes, toe-tapping musical sequences and well-executed dancing, a visual stunning presentation, two incredible strong leads from Erivo and Grande, and an all-around charismatic and enthusiastic cast across the board. Personally, I really loved this movie a lot. It had very thing that I wanted and was hoping for in this film adaptation, projecting a musical endeavor that both honors its Broadway influence as well as Maguire’s story, but also interjects a few dramatic / theatrical moments that the movie itself. To me, it was colorful, magical, and just a film world to fully get invested in. I love the whole story being told and Chu beautifully does a masterfully job in displaying such passion and respect for the source materials being expressed and does it all with such cinematic integrity. The music was catchy and bubbly, the dancing was well-executed, and the cast, especially Erivo and Grande in the lead roles, were great. I know that it sounds like I am “gushing” a bit too much about this movie, but, given a lot of disappointing films of 2024, this one exceeded my already high expectations. Thus, it goes without saying, that my recommendation for this movie is indeed a highly favorable “highly recommended” one, especially those who are fans of the Broadway musical (or fan of musical in general) and even causal moviegoers who are looking for something a tad different from the commonplace tentpole studio blockbusters. Heck, even fans of The Wizard of Oz story will probably enjoy this “untold” tale of the famous Wicked Witch of the West. It’s just that good! Given the fact of the film’s conclusion and the already guaranteed release date (November 21st, 2025) for the next film, it’s safe to say that Wicked: Part Two will be another highly anticipated for the next year of moviegoers, eagerly awaiting the second half / finale of what began in this film. In the end, Wicked is magical and musical triumph that delivers on its promise and gives a lavishing powerhouse of singing and dancing in the land of Oz as well as “defying gravity” within its meaningful performances and overall gorgeous visuals.
4.7 Out of 5 (Highly Recommended)
The Official Website for Wicked Link: HERE
Released On: November 22nd, 2024
Reviewed On: December 2nd, 2024
Wicked is 161 minutes long and is rated PG for some scary action, thematic material, and brief suggestive material
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