“Are we all born wicked?” It’s a trick question. The answer you give reflects your view of humanity.
In fact, that query is the theme of this charming and fanciful adaption of the Broadway musical Wicked (2003). That show was based on a novel by Gregory Maguire (1995), which was inspired by L. Frank Baum’s book The Wizard of Oz (1900), which spawned the classic family movie The Wizard of Oz (1939). In the earlier two works, a young girl from Kansas meets two witches: Glinda the Good and the Wicked Witch of the West. The more recent works reconstruct the witches’ backstory. The characters are so iconic and vibrant in this witches’ brew that all these filmmakers need do is just tell the story. But they’re far more ambitious than that.
Casting Ariana Grande as the dismissive, dimwitted and wealthy Glinda Upland works to the film’s advantage. She’s funny and sarcastic as the very popular blonde. Her perfect counter balance is the exceedingly green Cynthia Erivo as Elphaba. Often ostracized, but very intelligent, she has quick retorts to any derogatory remarks hurled her way. The two disparate souls meet their first day at Shiz University in the fantastical land of Oz. They’ll be studying magic and spell casting.
Glinda holds court and is admired by other students. Some make fun of Elphaba, who bristles. Glinda joins in the derision. “It seems the artichoke is steamed!” For a while, the spoiled brat reigns supreme. After Elphaba comes under the guidance of Shiz University’s regal headmistress and dean of Sorcery Studies, Madame Morrible (Michelle Yeoh), the green girl becomes the envied power broker.
Each will become a witch. Their destinies play out over 160 entertaining minutes as directed by Jon M. Chu (Crazy Rich Asians, In the Heights), who makes all on view a joy to watch as a spectacle—not in a bombastic way (e.g., Baz Luhrmann’s Moulin Rouge). It’s more like an animated and colorful dreamworld of a Harry Potter movie—hard for kids and families to take their eyes off the screen, real hard. Credit Chu and his brilliant tech team.
Cinematographer Alice Brooks (In the Heights) lights and catches the enchanting visuals like she’s painting a storybook, e.g., sets and props—dorm rooms, Wizard of Oz’s chambers, the train that takes the two witches to meet the Wizard. It all contributes to the fairytale feel, courtesy of production designer extraordinaire Nathan Crowley (The Dark Knight). Erivo, Grande and the rest of the cast’s cartoonish look are augmented by costume designer Paul Tazewell’s (Hamilton) quirky clothes. And editor Myron Kerstein (In the Heights) cuts scenes so tight, time whizzes by, except for a few song/dance routines. Some songs are catchy and others not (music and lyrics by Stephen Schwartz).
Chu masterfully develops the script (screenwriter Winnie Holzman from the Broadway show) into a lively fantasyland. He stages the energized characters well as they dance in perfect sync (choreographer Christopher Scott’s, In the Heights). Action scenes with flying menacing monkeys and weapon-carrying soldiers attacking Elphaba are thrilling—but not enough to scare kids. As the film progresses from school to a rendezvous with the Wizard (Jeff Goldblum) and a perilous climax, Chu whips the joy, fear and courage into a frenzy. When Elphaba floats up high in the air, long black dress billowing, broom stick in hand and singing the film’s showstopper song ‘Defying Gravity,’ it’s a big rush: “No wizard that there is or was, is ever gonna bring me down.” It’s an unforgettable image.
Three distinct, interwoven plot lines will entertain children, romantics and adults: Kids will like the budding friendship between the over-confident student and the humble one who grows stronger. Those into romance will appreciate the someone-who-loves-someone-else triad. Prom queen-like Glinda + fellow student Fiyero (Jonathan Bailey, Bridgerton) + smart nerd girl Elphaba = love and discord. The most dramatic sub-narrative involves the persecution of animals. They’re demeaned, rounded up and imprisoned. Their leader, a profit-like goat professor named Dr. Dillamond (Peter Dinklage, Game of Thrones), becomes their saintly leader. Any devices in this narrative that evoke the evils of fascism, Nazi Germany and current times are intended.
Marissa Bode as Elphaba’s favored sister and Bowen Yang (Saturday Night Live) as Glinda’s sycophant shine. Yeoh plays Morrible, a mentor with her own agenda, with a devilish grandeur. Goldblum as the Wizard is completely duplicitous. Grande couldn’t be sillier—nice comic chops. When she uses her head tone, she coos like Christine Chenoweth, who played Glinda on Broadway.
Tony, Grammy and Emmy-winner Erivo stakes her claim as one of today’s most talented performing artists. Her nuanced acting and strong singing propel Elphaba as she transcends from shy and apologetic to empowered. It’s an elation that fills the theater. That’s quite a feat. Also, in this adaptation, the shunned green woman is of African heritage. So, the you’re-not-like-us degradation Elphaba weathers has an extra sting and Erivo wears that hurt and anger well.
Hard to think of many screen-adapted Broadway musicals that were this magical—wickedly magical.
