Wicked (2024)

Jon M. Chu | 2hr 41min

As vibrantly scintillating as Dorothy’s journey to Oz was in 1939, the land itself was one of fantastical, faraway dreams, not so much revealing a lived-in civilisation than a vision of near-utopian perfection. This is the Oz that has cemented its iconic place in pop culture, archetypal enough for other artists to fill in its gaps with their own creative spins, yet none have come as close to its legendary status as Stephen Schwartz’s Broadway musical. Much of this is due to the perseverance of one unlikely friendship within its politically charged setting, and now that Wicked has taken to the screen, this fable is expanded to elaborate, epic proportions fitting of its narrative stakes.

Of course, such sweeping ambition is evident right from the moment Part 1 is tacked beneath the opening title, revealing that Jon M. Chu’s adaptation only covers the musical’s first act. It isn’t hard to see the financial incentives that might have cynically motivated this decision, yet the opportunity to let the story breathe and illustrate its world in more detail is far too appealing. Glimpses into Elphaba’s childhood through the opening number ‘No One Mourns the Wicked’ effectively bring greater insight into her sympathy for persecuted animals, and a brief diversion in ‘One Short Day’ similarly builds out the history of Oz itself by way of two spectacular cameos.

Even more impactful though is the intricate visual design which reimagines Oz beyond Dorothy’s dream, skilfully blending the steampunk aesthetics of the stage show with the Art Deco whimsy of the classic Hollywood film. The digital effects are far from weak, allowing for some sweeping long takes which fly across the fictional land, though it is no coincidence that many of the strongest set pieces here are executed practically. The majestic, geometric architecture of Shiz University is especially suited for Wicked’s superb musical numbers, spinning across hamster wheel-inspired library shelves in ‘Dancing Through Life’ and sinking us into the gorgeous green and purple lighting of the Ozdust Ballroom. For the sheer coordination of its editing and choreography though, ‘What is this Feeling?’ stands out as the clear highlight, mounting Elphaba and Glinda’s simmering rivalry in split screens before exploding it across the university’s dining halls, classrooms, and courtyards.

It is virtually impossible to fault the casting too, though this is no surprise given the intense behind-the-scenes competition which saw many talented actors miss the cut. Jeff Goldblum proves his eccentric, animated charm to be a perfect fit for the Wizard, and Jonathan Bailey’s Fiyero exudes a rebellious charisma which believably appeals to both the status-conscious Glinda and principled Elphaba.

Still, only so many words can be written before inevitably praising our two leading women. One of Wicked’s greatest joys is in watching a lifelong bond form between polar opposite personalities, and both Cynthia Erivo and Ariana Grande understand this intimately, bringing a reciprocated chemistry to their duets that spans contempt, joy, and deep, abiding love.

Where Grande’s bubbly improvisations make for a constant source of amusement and further elevate songs like ‘Popular’, Erivo takes on a greater share of the film’s dramatic weight as Elphaba. Having believed since childhood that her magical abilities were to be shamefully suppressed, she shields a desire for acceptance behind quick wit and guarded suspicion, only to let that hopeful innocence burst forth upon learning that these powers may be the key to finding her place in Oz. Though sung with profuse joy, the foreshadowing of her eventual infamy in ‘The Wizard and I’ only deepens the tragedy of her character arc, ultimately bringing us to its crux at the showstopping finale.

Also accompanying Elphaba’s journey are hints at a sinister, oppressive force lurking within Oz, often manifesting as propaganda and outright censorship of the animal population, and growing more apparent the closer she gets to meeting the Wizard. These minor details strengthen Wicked’s political allegory, so that by the time she is within reaching distance of her goal, the moral dilemma she and Glinda face to either join the system or challenge it is poignantly well-earned.

‘Defying Gravity’ thus arrives as the dazzling culmination of all their insecurities and convictions at the end of Part 1, and it is virtually impossible to imagine this as the mere midpoint of a film which would then anticlimactically progress to the musical’s second act. Though some muddy visual effects threaten to blur Elphaba’s flight into nondescript blurs, Chu pulls off her rise as the Wicked Witch of the West with brilliant spectacle against a cloudy, orange sunset, and Erivo too displays breathtaking musical command over the final chorus and iconic battle cry. Having already established itself as a theatrical phenomenon, this splendid combination of talents effectively claims Wicked’s cultural status within cinema as well, enchanting larger audiences with its stirring, resonant tale of Oz’s most celebrated and reviled inhabitants. The groundwork has been marvellously laid for Part 2, and the outlook is promising.

Wicked is currently playing in cinemas.