WICKED (2024)

Wicked seemed destined for failure. A 160-minute adaptation of a beloved musical, not only is this runtime longer than the musical itself, it’s just the first instalment in this fictional universe, with a sequel set for release this time next year. This epic musical could have been too childish to draw in adult viewers, or too overlong to prove successful amongst younger audiences. Recreating the Land of Oz isn’t just a huge undertaking in terms of crafting dazzling VFX, but when paired with musical sequences it would also require a visual spectacle that lives up to the legacy of The Wizard of Oz and this hugely popular musical it inspired.

The film features pop star Ariana Grande-Butera in easily the biggest role in her career, where she’s largely had bit-parts in movies before this. Whether it’s this pop star cutting her teeth on a hugely ambitious project, or the controversies related to the movie’s behind-the-scenes drama and marketing, there’s a palpable sense of scorn and derision lurking online regarding the film.

Against all odds, Wicked soars, with pitch-perfect humour, some of the best casting choices in cinema this year, invigorating musical sequences, and a sense of awe amidst this visual spectacle that makes it a worthy cinematic experience. Following two young women on the opposite end of the social ladder, the popular and privileged Galinda Upland (Grande) winds up becoming roommates/adversaries with Elphaba Thropp (Cynthia Erivo), a young woman with green skin who seems fated to be misunderstood and despised. As their combative relationship gradually gives way to a heartfelt friendship, these contrasting characters find their understanding of themselves and the world around them continually being tested.

In essence, most of this movie is a high school comedy and an excellent one at that. Its whimsy is just silly enough for kids to be entertained while still being genuinely humorous, particularly in watching Galinda’s shamelessness in her condescension towards those she deems as pitiful, unfortunate souls. Outside of the song-and-dance numbers, there’s an almost musical quality to this character’s physical humour and facial expressions, where something as simple as a look of surprise or a dip of her shoulder is enough to elicit laughter.

As for the musical sequences themselves, they are a glorious tonic to Mean Girls (2024), another high school comedy that woefully misunderstands what made the original work resonate (the 2004 film, not its musical reinterpretation). Whereas that movie had no business blending its mean-spirited characters and casually cruel dialogue with songs about pining for affection, Wicked’s sentimental qualities are a core component of its storytelling and plotting. Grande does a marvellous job providing the heavy lifting in the way of this film’s comedy, with so much of the humour resting on her coquettish or condescending obliviousness regarding how she comes across. Meanwhile, Erivo does her finest work in musical sequences where she’s singing her heart out about Elphaba’s hopes and desires.

This character is desperate to be understood in a world where superficial qualities have far more staying power in other people’s minds than whether one is a good person or not. So when she finally experiences happiness in her new social standing as a student at Shiz University after a lifetime of rejection by her callous father, it’s a stirring moment. Even more impressive is how the VFX in shots of the film’s serene landscapes—which span for miles into the distance—are awe-inspiring to the point that they present a genuine visual spectacle. But aside from simply looking good, the film’s blend of practical and computer-generated effects crafts a world that feels textured, where backgrounds possess a sense of scale and perspective instead of just being a complimentary visual backdrop.

Grande and Erivo are terrific singers and excellent actresses, whether they’re giving it their all in Wicked’s musical numbers or portraying their gradually shifting dynamic with one another. Much focus has been levied on this movie’s runtime, and for good reason, especially given that this almost three-hour-long film is just the first of two instalments. But there’s no fat in this story. Its early developments are necessary to take the time to set up an authentically combative relationship between Galinda and Elphaba, where they find themselves strangely drawn to their feelings of antagonism towards one another; hate is a very fulfilling emotion, it turns out. More fulfilling is the realisation that the other person is worthy of their respect and affection, with a touching interaction that transforms their relationship forever.

Whether it’s these two protagonists or this ensemble roster as a whole, this is easily one of the most well-cast movies this year and has a solid argument for being the strongest ensemble cast in 2024. ShenShen (Bronwyn James) and Pfannee (Bowen Yang) are hilarious side characters in their roles as Galinda’s vapid, preening friends. Both of these performers make for excellent hangers-on, with Yang standing out in particular for his pained, tortured smiles when he’s fawning over Galinda.

Fiyero Tigelaa (Jonathan Bailey) is a worthy late addition to the film, arriving onscreen just as it was starting to seem as if any new characters being added to the mix would disrupt Wicked’s rhythm and surprisingly keen characterisation. Fiyero is a character that’s hard to treat in earnest since his very nature as the dashing, charismatic Prince in a story that upends such traditional conventions of fairy tales makes him impossible to trust. Against these odds, Bailey does an excellent job of stamping out his presence with what could have been a fairly unremarkable Adonis-like character, showcasing natural charisma and a disarming degree of sincerity in later moments that’s compelling to watch.

For as fun as this experience is, its length does start to make it a weary one in its final hour, especially when a major plot twist is unveiled and this story becomes considerably more dramatic. As for how this slots into the story, it is very well-developed early on, nicely tying up all of Wicked’s plot strands. But while there isn’t a single scene that falls flat or feels unnecessary, the action-packed sequences and musical numbers bereft of humour or optimism in this section of the film are lacking.

Oz (Jeff Goldblum) is an interesting addition to this cast given how his reputation precedes him, both in this film’s fictional universe and for anyone who has seen the Wicked musical or The Wizard of Oz (1939). In keeping with this movie’s excellent casting, Goldblum is the ideal choice for this figure, especially in light of character developments that can’t be revealed for the sake of spoiling these twists. But these later moments don’t feel daring or thrilling in any meaningful sense. Even when it’s justifying its plot points, the movie feels as though it is meandering.

It remains to be seen if Wicked’s second instalment, which has already been filmed, will be able to capitalise on this film’s early success. The character dynamics are already wonderful, and if it can just imbue its dramatic moments with a bit more urgency and less of the sense that it is going through the motions, it just might stick the landing for two of the most impressive musical films in years. As someone with little awareness of the Wicked musical, it’s difficult to compare this film to that work, but it can be said that it is a joyous piece of cinema that knows exactly how to draw out its silliness for laughs, with a visual style that’s gorgeous to look at and makes for a worthy cinematic experience.

USA • CANADA • ICELAND | 2024 | 160 MINUTES | 2.39:1 | COLOUR | ENGLISH

Cast & Crew

director: Jon M. Chu.
writers: Winnie Holzman & Dana Fox (based on the musical by Stephen Schwartz & Winnie Holzman, itself based on the novel ‘Wicked: The Life and Times of the Wicked Witch of the West’ by Gregory Maguire).
starring: Cynthia Erivo, Ariana Grande-Butera, Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Peter Dinklage, Michelle Yeoh & Jeff Goldblum.