There’s spectacle, and then there’s spectacle.
Wicked, the second-highest grossing musical theatre production in over 40 years (behind only The Lion King), is now a major motion picture, with emphasis on the major. For longtime fans and newcomers alike, there is so much to enjoy, heaps to marvel at, and a beating heart just as large as the set pieces. Wow. What is this feeling, so sudden and new? It’s definitely not loathing. It’s adoration.
Wicked
Premiere: November 3, 2024 (Sydney)
Are people born wicked? Or do they have wickedness thrust upon them? These are the words of Glinda the Good (Ariana Grande) as Munchkinland celebrates the death of Elphaba (Cynthia Erivo), Wicked Witch of the West. She was a no-good, grotesque fiend. Or was she? Were we told the whole story? Were we quick to judge?
Wicked is a tale beginning long before Dorothy followed the yellow brick road, and it directly challenges our perception of The Wizard of Oz‘s notorious “antagonist”.
This film — technically part one of two entries — is an adaptation of the wildly popular 2003 musical by Stephen Schwartz, which is also an adaptation of the 1995 novel by Gregory Maguire. All three trace their inspiration to the literary works of L. Frank Baum, especially 1900’s The Wonderful Wizard of Oz.
If you’ve never seen the show or read the book, be prepared for the tone & content of Wicked to be quite different from a certain 1939 movie musical about a girl from Kansas we’ve all probably seen at least once. Wicked is not a direct prequel to The Wizard of Oz — not exactly. Yes, it includes many of the same characters, in the same world, and chronologically leads us into the latter. The events of The Wizard of Oz do happen, and are taking place concurrently with parts of Act Two, but not as we expect or remember. Wicked revises, expands, and deepens the complexity of Oz. It takes Elphaba, often depicted as pure evil & one dimensional in other works, and makes her the protagonist. It’s an empathetic, alternative backstory, and a profound warning against the consequences of ostracism.
For 21 years, theatre kids (such as myself) have been keenly aware of Wicked‘s presence. Whether it’s your absolute favorite or not, many of you undeniably know “Defying Gravity”. You know “Popular”. You know Idina Menzel and Kristin Chenoweth became household names seemingly overnight. The cultural impact of this musical, its sway in Broadway, and its reach into popular culture cannot be overstated.
With this legacy comes a certain hype and anticipation for the film version, which can be both blessing and curse. It means people are queuing up to see it, but it also means their expectations are high, their attachment personal, and their criticisms at the ready.
If you’ve been cautiously excited, perhaps a little afraid Hollywood would screw this up, I have joyful news for you: they delivered. Jon M. Chu & Universal delivered the best film anyone could possibly have hoped for, and I am left in awe.
Every single actor shines. Not a single person slacked whatsoever. Cynthia Erivo is down-to-earth & emotionally locked in. Ariana Grande is transcendental. Jeff Goldblum is charming & nuanced. Jonathan Bailey is a show-stopper. Michelle Yeoh enchants. Ethan Slater delights. Marissa Bode impresses. I see you, Peter Dinklage. Last but certainly not least.
There are a few heavy CGI moments, though it’s quite difficult to find real-life, flying monkey warriors from the Emerald City. I think we can leave room for mercy. Overall, this masterful work is shot beautifully, paced amazingly in spite of its length, and entirely captivating.
Two particular cameos may just be the most apt, most perfect cameos in cinema history.
My Personal Connection
I am extremely biased, and I’ll be upfront about it. Wicked is among my favorite stage musicals ever, all of which are coincidentally by Stephens. Company (Stephen Sondheim), Into the Woods (Stephen Sondheim), Pippin (Stephen Schwartz), and this wonderful, Oz-tacular escapade.
Wicked makes me happy, and while watching this movie was my first time giving it a great deal of thought in awhile, I’ll always maintain an emotional attachment. It was the first big production I ever saw on a professional stage.
I saved money to help my family get tickets in a little piggy bank when I was 11 years old. That’s how hyped I was.
My mother bought the original Broadway cast recording on CD at Universal Studios Hollywood, because, as I remember, there was a Wicked show back in the day. Wicked Wednesdays, circa 2007, when we were annual passholders. Every week, members of the actual cast from the historic Pantages Theatre would perform & sign autographs.
Speaking of the Pantages, that’s where my first musical memories were made. Sure, we got side-swiped in a hit & run going home on the 110 almost immediately after (true story, nobody was hurt), but it was still a good show! I saw it at the Pantages again, then in Denver a few years later.
I am very familiar with Wicked. It is my musical. It is the first musical I ever actually cared about. I might never have started caring for musicals otherwise.
10-year-old me often listened to each and every song on the way to school with a Disney Mix Max — a media player from the Mouse himself. Yes, Disney wanted to compete in an iPod war, at least briefly. They failed miserably, but hey, I had one. 512 MB internal storage, expandable to 2 GB. 220×176 display. Disney also sold preloaded memory cards with officially licensed movies on them.
Once again, I am a little biased when it comes to Wicked. Love of the musical has spilled out into love for the movie. Whilst I can imagine a world in which someone would not love this film, especially without a nostalgia bond, I sincerely believe it is impossible for anyone with a rational mind to hate it.
Spectacle & Story
This is a broad generalization, though I think most people enjoy cinema for two distinct (yet connectable) reasons:
- 1 — Empathy. We want human stories, stories rooted in our own world, that deepen our understanding and highlight our shared pains and potentials. Movies can explore the most evil, depressing, hopeful, and beautiful aspects of society, and, by doing so, they inspire us to make a change in ourselves or those around us. It’s why censorship exists: narrow-minded, reactionary, greedy, powerful individuals fear cinema’s ability to reveal the truth & stir the soul.
- 2 — Escape. We want a spectacle that sweeps us off of our feet & tosses us into enthralling possibilities beyond the problems & limitations of our own lives. We want to be entertained, we want to relax, settle down, cozy up, and daydream a little. It’s why special effects attract so many: movies can make the impossible possible.
Wicked is the ultimate film of 2024 (so far) for reason #2, absolutely. It is a marvelous spectacle, and at the same time, it still dips its toes quite readily into reason #1. That is the icing on the cake. That’s what makes this special.
I’m not arguing Wicked (the movie) is an entirely socially revolutionary, indie magnum opus. It’s a big-budget musical, for sure — though it’s a big-budget musical with a heart and a conscience, mostly because of its source material. No adaptation of Wicked — no good one, at least — can truly be separated from the spirit of the story’s core messages.
The book explores these ideas more thoroughly, and is admittedly more sad. It tackles fascism & propaganda, the nature of evil, marginalization — not the brightest sort of fairy tale our world is in the mood for right about now. One review of the novel called it a cautionary tale…about what happens when we as a society decide to label anyone who differs from the norm as evil.
The musical and film are somewhat looser adaptations. The story, while still tragic and thought-provoking, is truncated for the sake of time, extra enjoyment, and an added sense of hope. They’re a bit lighter, though by no means any less affecting.
Wicked has always been fascinating because it doesn’t hesitate to completely realign the entire moral framework of L. Frank Baum’s original stories. It has an affection for Baum’s world, and the lovely things about it, while it is also unafraid to give that world more political nuance and critique. Wicked revisits the underlying commentary of Oz, which was already allegorical of America’s issues a century ago, and re-applies it with a contemporary lens. It explores deeply-rooted iniquities, ultimately imploring us to think critically & act neighborly.
The Dying Musical & A Resurrection
In a recent interview with Letterboxd, Hugh Grant lamented the disappearance of big-budget movie musicals.
I love song and dance in films, and the more I watch Fred Astaire films, things like that, I just think what’s the point of any other kind of film? They’re so exquisite, and it’s so sad that they’re not fashionable anymore. The great Hollywood musicals, bring them back, I’d love to be in one.
His comment really stuck with me, because for several years, musicals really have struggled. Here’s a list of movie musicals that have surpassed $300 million at the box office since 1990:
- Beauty and the Beast (1991)
- Aladdin (1992)
- The Lion King (1994)
- Pocahontas (1995)
- The Hunchback of Notre Dame (1996)
- Mulan (1998)
- Tarzan (1999)
- Chicago (2002)
- The Polar Express (2004)
- Charlie and the Chocolate Factory (2005)
- Happy Feet (2006)
- Enchanted (2007)
- Alvin and the Chipmunks (2007)
- Mamma Mia! (2008)
- Alvin and the Chipmunks: The Squeakquel (2009)
- Tangled (2010)
- Alive and the Chipmunks: Chipwrecked (2011)
- Rio (2011)
- The Lorax (2012)
- Les Misérables (2012)
- Frozen (2013)
- Rio 2 (2014)
- Trolls (2016)
- La La Land (2016)
- Sing (2016)
- Moana (2016)
- The Jungle Book (2016)
- The Greatest Showman (2017)
- Beauty and the Beast (2017)
- Mary Poppins Returns (2018)
- Mamma Mia: Here We Go Again! (2018)
- A Star Is Born (2018)
- Bohemian Rhapsody (2018)
- Aladdin (2019)
- Frozen 2 (2019)
- The Lion King (2019)
- Sing 2 (2021)
- The Little Mermaid (2023)
- Wonka (2023)
Do you notice a trend here? Perhaps this chart makes it clearer:
Live-action originals & Broadway adaptations only comprise a little over 20% of these films. Disney has kept the movie musical alive in recent decades, with animated classics and an endless onslaught of remakes.
Wicked could change this trend, potentially giving studios enough confidence to approve future live-action musicals. Its opening weekend has already set a new all-time box office record for Broadway films.
Personally, I hope people keep coming. As a frequent cinema-goer, it’s sad attending numerous nearly-empty screenings. Wicked and Gladiator II are offering relief. The movie theater is a wonderful place, and I pray big release weekends like these re-energize audiences.
I also love to see variety at the cinema, multiple genres, unique perspectives, varying styles. Musicals are inherently about vaudevillian variety. No longer limited to mere talk, musical theatre offers more than one way to feel a resonance with the story.
When music & dance guides a film, it is dazzling & hypnotic. At the same time, often in the background, musicals tackle complicated issues, difficult times, and human problems.
Let’s see a musical revolution in the coming years. It’s high time grand Hollywood soundscapes with Technicolor vistas were in vogue once more.
The Motion Picture Event of the Year
Wicked is currently my favorite film of 2024, and I’ve seen quite a few so far — 52, to be exact.
The scale feels epic, yet the story remains heartfelt. These narratives, ones that both entertain & prompt reflection, are more precious than ever.
I understand a few individuals seemed irked by the division of the story into two parts, though I have no problem with it. Just means more Wicked, longer content, activate Lord of the Rings Extended Edition mode. Besides, the end of Act One in the musical, with its colossal, legendary finish, is a naturally perfect conclusion on its own.
Ariana Grande, someone who was a professional Broadway performer before she ever became a pop star, believes she was born to play Glinda. I believe that, too. She will be nominated for an Oscar, I’m sure of it, and I believe other members of this cast have decent accolade chances, too.
Some critics and moviegoers need to find something wrong with everything, no matter how astounding — where’s the fun in that? Yeah, picking something egregious like Borderlands apart until there’s nothing left is a good time, but when a movie works, a movie works. I have no complaints here.
Wicked defies gravity.
Wicked receives a 10 out of 10.
Additional Information:
- Director: Jon M. Chu
- Writers: Winnie Holzman & Dana Fox
- Cinematographer: Alice Brooks
- Music: John Powell & Stephen Schwartz
- Production Companies: Universal Pictures, Marc Platt Productions
- Distributor: Universal Pictures
- Images of Film from IMDb
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