Review: Wicked, Part I (2024)

Wicked, Part I

Rating

Director

Jon M. Chu

Screenplay

Winnie Holzman, Dana Fox

Length

2h 40m

Starring

Cynthia Erivo, Ariana Grande-Butera, Jeff Goldblum, Michelle Yeoh, Jonathan Bailey, Ethan Slater, Marissa Bode, Peter Dinklage

MPAA Rating

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Review

Influence and emulation are oftentimes the enemy of great filmmaking. It takes a strong filmmaker to use both effectively without sacrificing the story. Wicked, Part I is the culmination of one such effort, an adaptation that is both homage and inventionary.

It’s always hard to make a new adaptation in the wake of a seminal book like L. Frank Baum’s children’s book about a little girl who goes to the mystical land of Oz and wants only to get home, making friends and enemies along the way. The 1939 version of the film has become such a pinnacle of the period that few have attempted to touch it since then. Not even the attempt to return to the grittier nature of the Baum books with Return to Oz managed to succeed. It wasn’t until Gregory Maguire took Baum’s classic and grounded it in a grim fantastic world that more resembled capital-L literature than the kid-friendly environment of the original.

That 1995 novel dug into the backstory of two characters from the original novel: Glinda the Good and the Wicked Witch of the West, with the witch his antihero. Named Elphaba as a tribute to creator Baum, Wicked was a dark fairy tale exploring an exploitative government headed by the Wizard of Oz. While the book made a fascinating if dense read, the Broadway musical that was adapted from it turned those bleak situations into a vibrant extravaganza that focused on bullying, inclusion, and the need to take control of one’s destiny even when it’s not popular and you’re labeled, well, wicked.

Music by Stephen Schwartz and book by Winnie Holzman, the duo return to adapt the songs, music, and story (along with Dana Fox) into an epic adventure wherein two unlikely figures, Elphaba Thropp (Cynthia Erivo) and Galinda Upland (Ariana Grande-Butera), begin as enemies but see something in each other that leads them to become the best of friends in spite of their rancorous introduction. While those two are the central figures, they are nothing without the suitable friends, love interests, and foils that surround them. The rakish Fiyero (Jonathan Bailey), the besotted Boq (Ethan Slater), the fawning enablers (Bowen Yang, Bronwyn James), the frustrated sister (Marissa Bode), the conniving sorceress (Michelle Yeoh), the weary professor (the voice of Peter Dinklage), and the “wonderful” wizard himself (Jeff Goldblum). It’s a brilliantly talented ensemble but Erivo, Grande, and Bailey easily get top honors.

Erivo brings a simmering anger and restrained hope to Elphaba, punctuating her renditions of the “The Wizard and I,” examining the possibilities her magical abilities may provide, and “Defying Gravity,” her Act I (and film) finale, an anthem of defiance against a tyrannical regime and a populace wanting to keep her in her place. These moments are further refined by the compelling narrative that parallels her own struggles in life, an all-too-familiar refrain for minorities in the face of a fearful and oppressive majority.

For her part, Grande infuses the high-pitched and hair-tossing Galinda with the self-centered charm and high brow classism that radiates from her family and entourage as they fight to maintain dominance over the lesser and weaker (in their eyes) Ozians. Grande never lets Galinda become a caricature in spite of such pop-fueled numbers like “Popular.” Her voice a fitting treatment of a character whose near-operatic tone came to define her presence on the stage. Then there’s Bailey who gives Fiyero the egocentric populism that such charming and self-aggrandizing characters often employ to simplify their lives in the face of cultural strictures while “Dancing Through Life” in the most juvenile pursuits while giving the song a playful and seductive appeal.

The musical Wicked has been seen by many as the embodiment of the queer rights movement and the film’s tone and sophistication don’t sugarcoat that appeal. Fiyero openly flirts with male and female students (to get his way) while there’s a Sapphic undertone to the bond that builds between Elphaba and Galinda. It’s neither subtle nor obvious, a striking foundation for a pair such as this whose relationship evolves naturally from an understanding of societal constraint and the perseverance of pride in the face of adversity. These themes make Wicked, Part I soar.

While not entirely lost on the viewing public, the throwback to classic movie musicals is evident while the tributes to the 1939 version and the stage musical (Idina Menzel and Kristin Chenoweth get fitting cameos) are abundant. In spite of its darker tones, the film does a tremendous job creating the vibrant settings and environments in which the action takes place. The costumes are intricately audacious and visually stunning. There are moments when the use of lighting fades Elphaba’s green skin into Erivo’s natural shade, which makes its pointed critique of racism all the more evocative. It’s a film whose every frame is a visual treat, exciting an audience who might not understand the technical challenges and cinematic marvels they are witnessing but who will be no less impressed by them.

The most stunning and contributory element of the film is the amazing choreography by Christopher Scott. Director Jon M. Chu, who shouldn’t go unrecognized for the wonders of this film, chooses to frame the numerous dance sequences in medium and longshot, allowing the viewer to revel in the intricate work put forth by the talented dancers in the film. It’s an homage to the great film musicals the 1930s where the footwork was often more important than the narrative surrounding it. Thankfully, Wicked doesn’t let the story succumb.

There will be some in the audience who aren’t taken in by Wicked, Part I‘s inclusive themes or joie-de-vivre but this film isn’t really for those malcontents. Celebrating the diversity and magic of life and the people who live around us is more important than coddling those who see homogeneity as a cultural selling point. This is a light in the darkness of a time where being different is being attacked and standing out is a millstone. It says to those on the periphery of society that they’re worthy. For all those who are marginalized by society, this is a message that “everyone deserves a chance to fly.”

Oscar Prospects

Guarantees: Production Design, Costume Design, Makeup & Hairstyling
Probables: Cinematography, Sound, Visual Effects
Potentials: Picture, Directing, Actress (Cynthia Erivo), Supporting Actor (Jeff Goldblum, Jonathan Bailey), Supporting Actress (Ariana Grande-Butera), Adapted Screenplay, Film Editing