Cynthia Erivo and Ariana Grande are spectacular in the adaptation of Wicked, which nearly falls apart due to Jon M. Chu’s direction.
Wicked is a film at war with itself. Based on the stage musical of the same name by Stephen Schwartz and Winnie Holzman and loosely based on the 1995 novel by Gregory Maguire, the adaptation is long-awaited. Directed by Jon M. Chu (In the Heights, Crazy Rich Asians), the film flounders between its euphoric highs and aggravating lows. With such immense interest in the release, there’s no doubt the film will be a mega-hit. But while there are undoubtedly worthwhile elements, most notably the two leads at its center, there’s a significant, distracting drawback that threatens to snuff out any spark and light bolstering the production. That distraction is the director himself. Chu is evidence that an ardent fan doesn’t ensure a strong pairing. As much as Chu seemingly reveres musicals, he has no clue how to shoot them.
The film follows Elphaba (Cynthia Erivo), who, since birth, is misunderstood due to her green skin. A chance encounter while dropping her young sister off at Shiz University lands her a spot amongst the other students and, most notably, Galinda (Ariana Grande.) It’s with Galinda that Elphaba builds a formidable friendship after a rocky beginning. However, Elphaba’s dreams face a new hurdle when she’s invited to speak with the Wizard of Oz (Jeff Goldblum). Their meeting prompts sinister revelations that shake the foundations of her beliefs.
There’s a lot of story in Wicked, to the point where the much-contested runtime (a whopping 160 minutes) begins to make more sense. While plenty of room is left to argue whether it warrants being split into two films, the story is no slouch when it comes to world-building. Because it’s not just Elphaba’s burgeoning powers and her desire for normalcy that fuel the film’s trajectory. Soon, she’s on a mission to help liberate the persecuted animals of Oz who are losing their ability to speak. All of this leads her to understand that while she may have once revered the Wizard, there’s much more at stake than her dreams.
But that’s just the main plot. There’s also the arrival of the burningly charismatic Jonathan Bailey (Bridgerton) as the wayward and wily Fiyero, who enchants both our leading ladies. While his entire introduction number “Dancing Through Life” (a significant showstopper) promises a character happy to live without thought or care, even he soon shows himself as someone with greater depth. There’s the subplot with Elphaba’s sister, Nessarose (Marissa Bode), and her one-sided romance with Boq (Ethan Slater).
The friends we make along the way.
The film’s real heart is the friendship between Elphaba and Galinda. While it takes too long to get them to the warmth of camaraderie it’s immaculate on arrival. Erivo and Grande share a palpable chemistry that fuels their scenes together, either laughing or tear-inducing. But it’s a shame that we get more hints of their relationship through snapshots during the opening “No One Mourns the Wicked” than the actual film itself.
So much of the success of Wicked is due to its stars. Erivo brings a new depth to Elphaba, turning the character fully into her own. Her vocal performance is bright and yearning, and that climatic “Defying Gravity” is just as emotionally commanding. Casual fans of Grande may be in for a surprise as she unleashes her full register. And while she’s dabbled in comedy during her SNL stints and obviously through her early days as a child star, Galinda lets her be fully unleashed. It’s an enriching performance that obviously draws from Kristin Chenoweth’s iconic version while also bringing enough of her own emotionality to the role.
Rounding out the trifecta of perfect casting is Bailey, who gets a true star-ensuring moment with “Dancing Through Life.” Committed and engaging with each cast member and set piece, he oozes charm. Other cast members are only so lucky. Michelle Yeoh (Everything Everywhere All at Once) is a tremendous performer, but awkward and stilted here (and also can’t sing). And Goldblum, despite offering a real moment of sinister intent, is just playing by his usual quirky numbers.
Other highlights include the subtle changes to the score that allow fresh characterization. The songs are familiar but offer the new singers to make their own approaches and interpretations. But more than anything, the standout element aside from the performances is the set design and the practical effects that make it so immersive. Shiz and the Emerald City feel tactile and lived in as the characters move within them.
Bad magic.
This brings us to the major hangup (or the most pressing.) For a film that so painstakingly built this detailed and gorgeous world, they seem hellbent on burying it. Worlds can be fantastical and vibrant while still honing in on the human element that grounds the story. Chu’s allergic nature to bold colors is alarming for a director who clearly cares about musicals. How can you look at The Wizard of Oz in all its technicolor glory and think the best change would be to drain the components that made it a visionary experience?
Chu directs with a static, sterile gaze. For all the wonder that permeates the land of Oz, none of it injects itself into the screen. The choreography isn’t exactly inspired. There’s a lot of knee slaps and hip thrusts and hanging from fixtures on the ceilings and walls, but we wouldn’t know the full extent since Chu never lingers on the dancing. We’ll get a beat or two before the camera slingshots somewhere else, depriving us of the necessary motion and magic of the singing and dancing. There’s a way to lean into wide shots that capture the full magnitude of the scope and performance without it being dull. Instead, for all the forced movement Chu inflicts upon the film, some performances are inexcusably rote and motionless.
It’s such a shame because there are elements of Wicked that soar above Chu’s limitations as a director. The story is, admittedly, weak when boiled down to it. But we care about these characters and the precious bond between Elphaba and Galinda. Their first moment of camaraderie, where Galinda stands beside Elphaba to empower her after being the person to bring her to her lowest, is genuinely affecting. This is a movie led by a duo (at times a trio) of stars who can actually sing while delivering funny and heartfelt performances. And Chu’s direction nearly squanders it.
The bottom line.
Luckily, there’s just enough magic there to help carry us through. Wicked is far from perfect, and who knows how the story can carry itself over to Act Two in 2025. The film will affect plenty of people simply by existing. People like myself never got to see a stage production but tirelessly listened to the soundtrack while trying to hit a note close to the end of “Defying Gravity.” For many of us, this musical is ingrained in the softest, most malleable moments of our lives. It remains monumental in its addictive tunes and intriguing characters. It’s why fans, after waiting so long, deserve a film that offers more visually.
Because we don’t want to just watch this film in clips or listen to the soundtrack on Spotify. Wicked will charm you, and the performances are impressive and worthy of praise. But Chu actively drops the ball in his efforts to ground a film about magic in reality, as if determined to actively disregard the messaging of the film.
Wicked is now playing in theaters everywhere. You can watch the trailer here.
Images courtesy of Universal Pictures. You can more articles by Allyson Johnson here.
REVIEW RATING
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Wicked - 6.5/10
6.5/10
Based in New England, Allyson is co-founder and Editor-in-Chief of InBetweenDrafts. Former Editor-in-Chief at TheYoungFolks, she is a member of the Boston Society of Film Critics and the Boston Online Film Critics Association. Her writing has also appeared at CambridgeDay, ThePlaylist, Pajiba, VagueVisages, RogerEbert, TheBostonGlobe, Inverse, Bustle, her Substack, and every scrap of paper within her reach.
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