REVIEW: "Wicked" (2024)

WRITERS NOTE: The following was originally posted on my Facebook page on December 6, 2024. 

After the phenomenal success of the original Broadway production in 2003 (starring Idina Menzel and Kristen Chenoweth), Universal Pictures bought the rights to adapt Stephen Schwartz’s stage musical Wicked—itself an adaptation of Gregory McGuire’s 1995 revisionist novel of the same name, about the origins of The Wizard of Oz—into a feature film. Fast forward almost two decades and we finally have director Jon M. Chu’s long-awaited first half (or act?) of the origin stories of the two most famous witches of Oz: the cheerful and popular Glinda the Good and the misunderstood outcast Elphaba (who becomes the Wicked Witch of the West), and how they met at school. (Part Two is scheduled for a theatrical release next year.) 

I didn’t have high expectations, assuming, based on the trailers, that this would be another CGI-heavy tentpole. I must say, I was quite surprised to learn that just about every set piece (and large-scale musical number) was done practically—and with help from hundreds of extras. The spinning library in the “Dancing Through Life” sequence blew me away the most. In fact, just about every number here (from the witty “What Is This Feeling” to the tearjerking “Not That Girl” and the empowering “Defying Gravity”) are all brilliantly choreographed, acted, directed, and photographed. 

Leads Cynthia Erivo (Elphaba) and Ariana Grande (Glinda), both phenomenal, even sang live on set behind the scenes. That’s talent and dedication. And a long way from Tom Hooper’s 2012 version of Les Misérables, which attempted the same thing but with mixed results. The rest of the cast is equally and fully committed, including disabled actress Marissa Bode (as Elphaba’s sister, Nessarose), Michelle Yeoh (as Madame Morrible), Jeff Goldblum (as the Wonderful Wizard of Oz), and Peter Dinklage (as the voice of Professor Dillamond, a goat). As an added bonus, see if you can spot any appearances from any of the original Broadway performers!

It almost, but not quite, echoes last year’s “Barbenheimer” phenomenon--meaning, the joint releases of Greta Gerwig’s Barbie and Christopher Nolan’s Oppenheimer during the same weekend. Considering the fact that Chu’s film was released the same weekend as Ridley Scott’s long-awaited swords-and-sandals sequel Gladiator II, both blockbusters continue Hollywood’s throwback to practical filmmaking while embracing modern technology and artistry, effectively combining old and new techniques to tell compelling and large-scale stories. Did I mention a recurring motif of pinks and greens? 

While I have yet to read McGuire’s book, Wicked the movie seems to combine elements of that text with the stage musical, while also paying several homages to the all-time 1939 film classic we all know and love. The Yellow Brick Road, check. Flying monkeys, check. Poppy flowers, check. The Emerald City, check. Bikes and basket cases, check. A glimpse of Dorothy and her friends on their journey to meet the Wizard, you get the idea. Oh, and shoes. Lots of shoes! Even the opening vintage-style Universal logo is a period throwback. 

I will admit, I was worried this narrative would be another case of Hollywood embracing woke culture and be more about pushing agendas than telling a story. While that is open to interpretation, the filmmakers, for the most part, managed to create a universal story that people of any background can relate to or be engrossed by without being really pushy. More discerning parents, on the other hand, may want to view it first for age-appropriateness, as there are references to infidelity (part of Elphaba’s family backstory), animal cruelty (said characters are treated like second class citizens in this world), and effeminate male characters. The same goes for thrilling and scary scenes that may remind some viewers of how The Wizard of Oz traumatized them as children. 

Challenging themes of good and evil are key throughout this story. One citizen of Oz even asks why there is wickedness in the world—a very thought-provoking question. But the thing that strikes me about this musical—and for the first time, with this particular film—is how tragic Elphaba’s story is. With powers driven by her emotions, an internal struggle between hope and disappointment, and that she’s shunned by most people who encounter her, it’s easy for others to label this green-skinned young woman--and even exploit her--as the villain. But the question is, who are the real antagonists? To the film’s credit (without spoiling anything), it goes to show that sometimes, the people we look up to, that seem like they have it all together, are not who they appear to be. The same for those who are misunderstood or judged on the surface, for one reason or another. Ditto the fact that the things we tell ourselves aren’t always true. 

At least one major character admits that she thought she found what she wanted, but eventually longs for something more than that, more than intolerance, favoritism, prejudice, jealousy, or shallowness. Likewise, themes of understanding others, standing up for them, and choosing kindness are especially noteworthy when Elphaba and Glinda first truly bond—a moment that is both heartbreaking and touching. Overall, this first film installment of Wicked is astounding, taking flight in preparation for the second half of the story next year. Hold on tight. 

#filmfreeq #bekerianreviews #21stcenturycinema #universalpictures #gregorymcguire #stephenschwartz #jonmchu #wickedpartone2024