Ever since the original Broadway production of Wicked opened back in 2003, it has become one of the most successful and beloved musicals of all-time. With stunning technical elements, charming characters, and memorable musical numbers, the show has amassed a large fanbase and made a ton of money in the process. As is the case with most musicals that become smash hits, a film adaptation seemed inevitable. However, it’s been a long road to get a Wicked movie made, as the project was first announced in 2012. But after a lengthy development process and delays due to the pandemic and the 2023 SAG-AFTRA strike, the film version of Wicked (or at least the first half of it) is finally hitting theaters.
When it comes to any musical adaptation, I can’t help but be skeptical since they tend to be very hit or miss. With Wicked, I couldn’t help but have more reservations than usual given that I wasn’t sure how well the show would translate to the screen and the fact that it is being split into two parts. Not to mention that the trailers weren’t exactly inspiring confidence in me. While I may have some nitpicks, I must say that Wicked defied my expectations and is an absolutely delightful film. It may be hindered by some of its visual choices and feeling a bit drawn out, but everything else around it is so strong and entertaining that it more than makes up for it. Wicked is sure to satisfy fans and potentially win some converts, and is a solid, highly enjoyable adaptation.
Set in the Land of Oz before Dorothy arrived, the film follows Elphaba (Cynthia Erivo), a young girl with green skin who will one day become the Wicked Witch of the West. The story begins as she accompanies her sister, Nessarose (Marissa Bode) to Shiz University and is ostracized by the other students. Much of this comes from her roommate, Galinda (Ariana Grande), an airheaded, popular girl who will eventually become Glinda the Good Witch. Despite initially hating each other, the two end up forming an unlikely friendship. As the film goes on, we see their relationship develop and begin to discover that the Land of Oz might have some dark secrets underneath all the magic.
Considering that the film centers on the dynamic between Elphaba and Galinda, it is imperative that the actors in these roles have good chemistry. This is exactly what we get from Cynthia Erivo and Ariana Grande, both of whom are excellent in this film. They both shine individually, but are such a strong duo as well. Erivo has an underlying sadness to her that makes Elphaba a very sympathetic character, and it also allows the audience to easily connect with her and understand her perspective. It is a bit more understated than some might be expecting, but it makes the performance all the more powerful and fascinating. Unsurprisingly, her voice is as phenomenal as ever, with her rendition of Defying Gravity emerging as one of the film’s standout moments. It is a performance that builds steadily and is beautifully acted on Erivo’s part, acting as an exceptional showcase of her talents.
I wasn’t sure what I would make of Ariana Grande’s performance going into this, but I was pleasantly surprised by just how great and how funny she is all throughout this. She nails the ditziness of Galinda, channeling a bit of Kristen Chenoweth at times while still making the character her own. From the moment she first appears, I immediately understood why she was cast in this role and was on board with her. She sounds amazing, going back to her Broadway roots and using a more classical style of singing as opposed to the pop stylings that made her famous. Not to mention that her and Erivo are incredible when they get to sing together, and make an excellent team throughout. As the film goes on, she lets the mask down and does some interesting things with the role. It is a stunning performance that shows she has the goods, and audiences are sure to be buzzing about her after watching this film.
Beyond the two leads, there are a number of excellent supporting turns in the film, starting with Jonathan Bailey as Fiyero, a Prince who attends Shiz University. Bailey is charming as all get out, erupting with charisma and energy that just pops off the screen. He isn’t in as much of the film as I would like, but I am sure we will see much more of him in Part 2. Peter Dinklage also gives a terrific voice performance as Dr. Dillamond, a talking goat professor at Shiz. Since the character is portrayed as a photorealistic animal, the role relies on a strong voice actor to help enhance the emotional arc of the character. Dinklage pulls this off beautifully, and really makes you feel for him throughout.
Michelle Yeoh might be the biggest standout from the supporting cast as Madame Morrible, a talented sorcerer and the headmistress of Shiz. Yeoh has long been one of my favorite actors, but I was a little thrown off when she got cast in the role. In the stage production, Morrible isn’t a particularly meaty role, and I felt like Yeoh might be a bit overqualified for it. But the film thankfully adds some dimension to the character. Much of this is thanks to Yeoh’s skill as an actor, as she has a subtle, yet powerful energy that radiates throughout her performance. This latched onto me from the beginning, and I was blown away by what she brings to the role.
While the performances are excellent across the board, it does struggle with some of its technical craft. Most of the issues I have lie in the visual palette of the film, which can be inconsistent. To its credit, the practical sets and effects are impressive, and work quite well throughout, but the film can’t seem to decide whether it wants to be more of a CGI spectacle or to embrace a more naturalistic aesthetic. It feels confused, which comes at the cost of some scenes feeling off. One of the worst offenders is the Dancing Through Life number. The set is unique and used in fun and interesting ways, but it is back-lit in such a distracting way that pulls focus from everything. Other moments in the film clash between the two styles and it feels more disorienting than anything. Despite this, the film doesn’t look bad overall and has some solid production design and costuming, but it does have some questionable camerawork.
Part of this could be due to director Jon M. Chu, who is generally good at what he does, but doesn’t seem to have the best visual instincts. His previous film, In the Heights, suffers from similar issues, as he seems to have the right ideas when it comes to directing a musical, but doesn’t always execute them well. While both films are highly enjoyable and quite good, it is hard not to ignore some of the bits that feel a bit off. My main nitpicks lie in a couple of the musical numbers, where I question some of the visual choices he makes. What he lacks in this department, he makes up for in the rest of his direction, as he keeps the film feeling alive and exciting for almost its entire runtime, and handles its themes of prejudice and discrimination quite well.
On that topic, I was most surprised by how much it gets into the politics of the Land of Oz and how sadly relevant it feels for our current world. Considering that this is a 160 minute long movie that only encompasses the first act of the stage musical, there obviously needed to be much more added to justify the runtime. It borrows some of the sociopolitical commentary from Gregory Maguire’s original novel, and fleshes it out to give the film a little more substance. To be fair, the film does have moments that feel a tad drawn out, but the whole film moves at a quick pace and doesn’t feel nearly as long as it does. As for the film’s themes, they are not only amplified by design, but also gain a new understanding due to the casting of Cynthia Erivo as Elphaba. By casting a black woman in the role, the film’s treatment of the character takes on a new meaning, allowing it to discuss racism and microaggressions through the discrimination the character experiences due to her skin color. Not only that, but the way animals are treated throughout the film also contributes to this, and mirrors the real-life oppression that various marginalized groups experience. These elements add quite a bit to the film, and I am curious to see how they build on them in Part 2.
Wicked is one of the few Broadway musicals that makes the leap from stage-to-screen quite gracefully, even if there are a few flaws here and there. Much like Dune, another film that wasn’t advertised as Part 1 of a larger story, the film sets up its world and characters quite well, and ends at an exciting point that will leave audiences champing at the bit for the sequel. In the case of Wicked, it does kind of feel like half of a movie, but still manages to feel more complete than I was expecting. Despite its issues, I cannot deny that this film is pure entertainment, and really appealed to me as a lifelong lover of theatre. Those who love the stage show will undoubtedly fall head over heels for this one, but I can also see some skeptics being won over by it. I personally wasn’t sure what to make of many of the choices made here, namely the decision to split it into two parts and stretch out the runtime, but most of the choices feel justified in practice. I’m sure my overall feelings of the film will shift for better or for worse when Wicked Part Two comes out in a year, but as it stands, I found Wicked thoroughly enjoyable and entertaining. It is a strong musical adaptation that benefits from its stellar cast and while there are some stumbles, it ultimately is quite magical.