"Wicked" is Splendorific
For even the most vocal of musical movie skeptics, this immersive world-building cinematic coup will woo.
Some spoilers, but we all know the story, so is it really?
Wicked [Trailer] (2024), directed by Jon M. Chu (Crazy Rich Asians, In the Heights), is a cinematic pop cultural masterpiece on a multitude of levels. It’s Part 1 of at least a two-part experience, with the sequel to be released next November in time for Thanksgiving. If the cinematic quality of Wicked continues on its current path, it’s easy to imagine annual broadcasts similar to the beloved Christmas telecasts of The Wizard of Oz, which captivated American homes from 1959 to 1991. Just as those classic showings became a cherished tradition, future Wicked telecasts or Netflix specials could become equally anticipated events for families.
Side Note: Elphie’s backstory/prequel is coming out in March. [Amazon]
For those unfamiliar with the story, Wicked is the prequel to The Wizard of Oz, and was first published by author Gregory Maguire in the 1990s. Later came the Broadway musical adaptation with Idina Menzel as Elphaba and Kristen Chenoweth as Glinda. Wicked offers a nuanced perspective on The Wizard of Oz, exploring the origins of evil and the complexities of morality. By focusing on Elphaba (Erivo), the future Wicked Witch of the West, and presenting her as a misunderstood character with depth and humanity, Maguire is unpacking what “wickedness” means, how scapegoating happens, and how moral superiority forms as a byproduct in a world where power goes unchecked and polarities of good and evil exist.
Onscreen, moral superiority comes in a tiny, pink package in the form of Glinda (Ariana Grande), who, in her effervescent, grating bubbliness, is like an alternate-universe Elle from Legally Blonde (Elle and her Toto-like dog were such a Dorothy nod). Where Glinda could have been made to be cartoony in her toxic positivity, backstabbing ambition, and people-pleasing pleasantness, Grande’s portrayal here is far more complex. Hers is perhaps the most affecting to watch as far as witnessing the evolution of a character with poise, grace, and depth being led astray by darker forces (Madame Morrible). This is a credit to Grande’s performance, her direction, choreography, vocals, and the script. She’s on fire here. The chemistry between Glinda and the previously unloved Elphaba (Erivo) is a central element that captivates audiences, drawing us in without being overtly forced. Their evolving relationship is something you genuinely root for, as it unfolds naturally rather than through heavy-handed exposition.
Love, Love, Love
The music serves the film’s narrative in that it humanizes the story and provides an accompanying score to regulate some very heavy, emotionally fraught scenes. In the author segment of the screening I attended, Gregory Maguire discussed how the deep interior life of the Wicked Witch in The Wizard of Oz is missing. We don’t know why she is the way she is, but eliminating her voice from the score and any music dehumanizes her. We are conditioned to feel less empathy towards her.
In contrast, the Ozdust Ballroom scene serves as a pivotal moment in the story, showcasing the complex relationship between Elphaba and Glinda and in essence, when Elphaba first experiences love. The scene unfolds as follows: Glinda, in an attempt to embarrass Elphaba, encourages her to wear a black pointed hat to the dance. This hat, which Glinda considers "too ugly" for herself, later becomes Elphaba's iconic accessory. When Elphaba arrives at the event wearing the hat, she's met with gasps and laughter from her classmates. Instead of retreating, Elphaba boldly takes center stage and begins an impromptu, interpretive dance.
Initially, the other students mock Elphaba's unconventional movements. However, the scene takes an unexpected turn when Glinda, feeling remorseful, joins Elphaba on the dance floor. Glinda begins to mirror Elphaba's dance moves, demonstrating a willingness to set aside her concern for appearances. This gesture holds immense meaning for Elphaba, who has never experienced such acceptance before. As the two dance together, their movements become more synchronized and emotionally charged. The scene is portrayed with deep empathy, focusing on Elphaba's vulnerability and emotional journey.
Malice in the Palace
Are people born wicked or is wickedness thrust upon them?
According to this film, the answer to this question is that wickedness is a societal construct that defies the status quo. It is created or manufactured so that the people in power, the authorities, can have someone(s) to blame or malign for systemic problems that have far greater and more complicated origins. The Wizard in the film cops up to this definition as he throws around the word “blame” in context to the elimination of animals in this film and how this marginalization is part of a plan.
The opening line of the film leaves little room for questions surrounding the fate of our green-skinned heroine, Elphaba - named so as a homage to The Wizard of Oz author Frank L. Baum and with a literal nod to the word “alphabet” since the talented witch is capable of crafting language using the alphabet of her thoughts and hands, from which the power is harnessed.
Exactly how dead is she?
Details Worth Noting
The cinematic zoom-out and in on the back side of a character (neck, head, and later body) prior to revealing their face is an interesting choice and creates a chilling effect. Both for Elphaba (Erivo) and Madame Morrible (Michelle Yeoh) this was done.
Meta moment with Menzel and Chenoweth performing onstage in Oz, and sharing the screen alongside their ingenue counterparts (Erivo and Grande) was a passing of the torch moment and so worth it.
Elpha’s carer/ nursemaid is a bear, which is a departure from the book. It works. It also was Maguire’s favorite adaptation.
Dorothy [to the Wizard]: You’re a bad man.
The Wizard of Oz: No, I’m just a bad wizard.
Real World Meets Film Fiction
I attended a special screening with Gregory Maguire, author of Wicked. He’s a hoot and, as you may have guessed, a compelling storyteller.
For More Oz Stuff - Go Down The Rabbit Hole with Dorothy Alice
See Lynch/Oz [Trailer], a docu-essay that is now streaming on Kanopy. It proves how influential The Wizard of Oz was for every 20th—and 21st-century filmmaker, but notably David Lynch (Twin Peaks, Mulholland Drive, Wild at Heart, etc.).
One of the persistent themes is the idea of exploiting raw gifts. Elphaba’s unprecedented sorcery talents/skills make her a target for the greedy machinations of Madame Morrible and The Wizard. When she doesn’t comply with their plans, they target her. This concept is also explored in La Chimera, a film I recently reviewed and highly recommend.
Very cool that you went to a lecture with the book’s author.
We enjoyed the movie although I wish I hadn’t gone. I found out after that both Grande and Erivo signed the artists for ceasefire petition. (This petition made no mention of releasing hostages.) It’s a shame I have to investigate every actor’s social media. If they are Jew haters I cannot support them.
wicked was a great movie! but i hated the end (to be continued) be other wise it was great in all!!~