Jon M. Chu’s Wicked is a heartfelt gift to the world in a dazzling world building spectacle of whimsy and magic all pointing to the power of kindness changing people for good in the midst of darkness.

Wicked recounts the origin story of the infamous Wicked Witch of the West, a staple of villain archetypes for various stories to come, through the words of her former roommate and first friend. As her death is vibrantly celebrated by the Munchkin people throwing tulips and taking down painted posters of her evilness, one Miss Glinda the Good (Ariana Grande) arrives by the bubble to confirm the devastating news. Her grief-stricken eyes masked by the perky smile and operatic altos hide her true feelings from those who idolize her for her goodness as she tells the true story of her former roommate.

This musical adaptation is an ode to both classic movie musicals of the past and musical theater showcasing how film can be boundary breaking in expanding a well-known stage musical. Jon M. Chu, a lifelong Wicked and The Wizard of Oz fan, starts his conquest of this 20-year battle by identifying the pathos of what Oz actually is. Oz, most recognized for its aesthetics from the 1939 film, has yet to be truly discovered in its entirety onscreen for those not engrossed in the written books, including the ideology and the psychology. The 1939 predecessor positions the audience as a visitor of Oz, just like Miss Dorothy Gale, experiencing the wonders through her eyes, where Wicked flips the switch and puts the audience as a fellow Ozian. Instead of being displaced throughout the theater squinting to see the faces onstage, Wicked allows everyone to get up close and personal to the tale unfolding in front. Seeing new layers to a beloved story as old as time with rejuvenation at the forefront. Developing the cinematic universe of Oz with the finest of details including books of Ozian law filled with pages, a Princess Ozma easter egg for the biggest of Oz historians, and most importantly, who the true scholars of this world once were: the animals.

Not enough words can describe the beauty of these tangible practical sets built for Elphaba (Cynthia Erivo) to run through the freedom of singing “The Wizard and I” from the halls of Shiz University to a wheat field miles away. The nine million tulips planted for production provide a rainbow palette in the opening number establishing its fairytale-like nature in Glinda’s retelling of the story. It is truly a marvel of what was pulled off in order to make this realized Oz as fruitful as possible, which then unlocks for the actors to truly become these characters, flaws and all. They can live like an Ozian would with their designated lingo and beliefs in the all-powerful Wizard. Chu knows how to bring his vision into every frame of the film with a singular dream communicated to all around him.

Timely themes of power and corruption ring relevant and even more important as surrounding plotlines to the centered story of two best friends unfold on the screen. Elphaba is someone who has always been searching for that person who will finally see her for who she is, not just the color of her skin. Her entire life has been built around the Wizard (Jeff Goldblum) being that very person, placing him at high prominence to a young Elphie. Propaganda pop-up books teach the youth of a fantastical man brought by the skies to save the people of Oz, but there is more to the story than we all know. Even the drastic changes in the history classes take out the people who have the information on the past to instill fear in its citizens and erase any inkling of what came before the Meglomanic in the Green Tower. An entire Emerald City is dedicated to the prosperity of opportunity an Ozian can achieve only if they follow the words of the Wizard. This gleaming fortress represents a utopian bubble from all the worries surrounding those outside the walls, and the Wizard knows as he spews his lies through special Wiz-O-Mania performances every hour and busts of his likeness lining the local university to hammer in his chosen one prophecy. 

It is when Elphaba doesn’t want to use her powers for the evil she is immediately turned on by those she seeks validation from shattering the images she had of all the rules in the world. This lets her finally be free from seeing there is no greater power, she is the greater power. Wicked is a lesson to us all in overcoming the desire of nihilism once we face hardship or darkness in the world. In times like these, it is so easy to sink into pessimism and let wickedness rule, but Wicked is the film we all need right now to empower us to keep going as we all have an impact on the world. Kindness will always come on top as long as we hold onto our truths and self for power. 

Erivo has discussed making Elphaba her own and the importance for her bringing in her own Blackness as a part of her that identifies with Elphaba and adds further nuance to the story.  It is the glue that connects Erivo to Elphaba allowing her to transform into this green goddess and connect with her navigation of society. Her Elphaba isn’t angry at the world for her mistreatment, she possesses a glimmer of hope that one day the world will accept her, not letting it close her off for good. She always remains true to herself letting that be the only assurance she needs to be confident but there is that inkling for her family and those around her to finally come around to see her skin as not something bad but instead powerful. There is a vulnerability to Erivo in this role as someone that embodies strength making her turn as Elphaba raw mainly through her voice as it builds up to a final moment where she breaks free from the judgement of society. Her “I’m not That Girl” is the second time she lets her insecurities peek through questioning how she will never deserve someone like Fiyero because that is not how the system she operates in was meant for. She has lived a life of trying to keep herself unseen and remain polite, which makes her final turn satisfying as she finds her voice in the most heroic manner as she’s soaring high above proving her worth, not to others, but to herself. Elphaba is a symbol for anyone who has ever felt different. The feeling of longing for someone to finally recognize you for what is inside instead of labeling you for the outside.

Wicked at its core is a story of relationships, specifically the complexity of how one reacts to rejection. Elphaba, placed in a prime position to use her powers for the surveillance state wished to be built by the Wizard, recognizes she wants to be good and therefore pulls back to continue on the path of kindness she has established. The constant patronizing from the Wizard and Madame Morrible (Academy Award Winner Michelle Yeoh) as they know exactly what to do to subtly get Elphaba to follow their plans as this girl who has so much to prove to the world, they dig into her core. It is when she pulls away that they turn into everyone else making notes on her green skin as all she is and nothing more.  Her connection to animals spearheads her schism with the Wizard, as she has always made herself a voice for those who don’t have one. Putting their lives before hers and risking it all to finally enter her full form is so cathartic as the battle cry rings out during “Defying Gravity.” As she tumbles down the sky-high towers met with the reflection of her younger self healing that inner child. 

The words “they were born to play” are meant for Grande in the role of Galinda the Good. Bringing a mix of her Broadway background and Nickelodeon beginnings, Grande understands Galinda from head to toe in her mannerisms and voice. A woman who has never faced a consequence or obstacle in her entire life floating through her metaphorical bubble of privilege. The emotion felt when Grande belts out “Popular” thinking back to this being a role she has worked her entire life for is inspiring as she nails each comedic beat with poise. Galinda goes through a major transformation teased in the film’s opening that won’t be fully explored until Wicked – Part 2, when her story reportedly takes center stage. She has always thought of herself as a person of goodness in the end getting everything she’s ever wanted but not exactly the way she hoped. In “Definy Gravity” she once again assumes her role of silence when her facial expressions convey her selfish thoughts of doing what works best for her even if it means losing her best friend in the process. Madame Morrible in the end after dismissing the newly named Glinda feeds on her ambition to be a sorceress, seeing it as a chance to mold someone like she wanted to do with Elphaba. 

Everyone loves and adores Galinda but does anyone ever see her, not until her green roommate Elphaba forces her privilege to pop and examine how the world is. Galinda has always been the role of comedic relief which puts to task the comedic sensibility of Grande finding little one-offs and expressions to demonstrate the aloofness of the good witch. How unfortunate that she has to share a room with the school’s outcast, it makes her so brave all around.  Her vocal changes from popstar to cinematic leading lady are noticeable in her transformation to Glinda with certain phrases sounding like a little kid begging for a treat. It is remarkable to watch her physicality in quick reactions to what is happening around her whether it is a hair toss or a smile, she makes Galinda feel like a human being rather than a character. Her Galinda centers around this idea of silent complicity and performative goodness. She only wants to appear nice but outside of Elphaba Galinda never follows through on her words of all style no substance. As Galinda starts to float down from her pedestal, there is a hint of human to her mainly in her interactions with Elphaba.  Her sudden realization that the world doesn’t revolve around her begins to break down her spirit as she watches someone else given her moment and begins to rethink what this life is about. 

One of the most crucial scenes for both witches is at the Ozdust Ballroom, which could be said to be the start of their true love story. Holding back her tears, Elphaba begins to dance true to herself, though seen as something aggressive and alien by the surrounding figures in the jewel-toned room, in a scene which is the heart of the film with many pivotal moments to set the course for what’s to come. Within this setting we have Galinda’s realization of the hurt she’s caused Elphaba, Boq (Ethan Slater) and Nessarose’s (Marissa Bode) tumultuous love, and Fiyero (Jonathan Bailey) starting to form a different kind of thought upon seeing Elphaba alone in the middle of the floor. In this moments its these two women and no one else exists as the sound becomes muted only focused on their movements as ‘For Good” is shadowed in the background. This is out of step for Galinda to take a stand in a room with lesser repercussions to her reputation as she can make this change to be with Elphaba against the odds. A beautiful display of two women coming together amid a crowd where they seek one another out to finally put down their judgment on one another and end up connecting. 

Bailey as Fiyero is the ultimate casting as the Lord becomes a Prince. He delves into Fiyero’s shallowness and his moments between Elphaba and Galinda are so starkly different as Bailey plays into both relationships organically with wonderful chemistry between all three. A life of willful ignorance is all about being the perfect couple or a life where he can have some substance in conversation and take a true look innards plague him in Part 1. Similar to Galinda, when his privilege pops, he doesn’t know how to quite articulate his unhappiness and it is Elphaba who is the only person to see him for who he is building an authentic connection between the two as he has seen past her skin color for who she is. If that wasn’t something to immediately fall in love with, then his flexibility as a dancer is next on the list, committing to the spirit of musicals and working his body every way as an instrument. His Fiyero teases that women aren’t the only apple of his eye having chemistry with every single person who gives him the time of day mesmerized by his bombastic vocals in a ten-minute dance number that could be longer. His bad boy charm in a costume that emulates a leather jacket but he is not afraid to shake his hips and corrupt the entire school to focus on something else other than books. There is so much teasing in his short time on screen in this first installment that Part 2 can’t come quickly enough to further his love triangle and the life he wants. 

Erivo and Grande are truly soulmates and this entire film hinges on their impeccable chemistry. A film that allows two female leads centered is a rarity and the way the camera captures the way they look at one another through different lenses shows the commitment to telling their stories authentically. With the sunset representing Elphaba and the sunrise for Galinda, their story becomes a forbidden love that in this world these two women are not allowed to interact with one another as Galinda is the picture-perfect Ozian and Elphaba has always been a burden to anyone she comes across in her life. Once Galinda starts to care about someone other than herself, both begin to let their guards down and the other one in. Galinda knows exactly what to say to Elphaba which is not the same tone as the people around trying to take advantage of her gift. She is genuinely supportive of her new friend providing her the safety she has never known even up until their last moments together in Part 1.  Like Galinda says “This is much bigger than us” realizing their small part in how this larger system that Elphaba wants to take down and silence the “others.” They perfectly complement one another in chemistry that flows the second they face off in the quad on orientation day. It is two halves on one soul fueled by the grand vocals in a majestic move to have live singing throughout the film. 

The stars aligned for Chu to enlist a creative team built to make an Oz of their dreams. With a background in musicals, there is a never-ending stage that defies the screen for each show-stopping musical sequence refreshed with new outros and added lyrics to build out the story.  The balance between music and dialogue works symbiotically to use the power of the songs like any musical for the character’s inner thoughts to come to life in moving click bookcases or a pink-drenched door room, every number is given its moment to shine performed like a Broadway act itself. It is the type of film where there are probably songs people are coming to see but will walk away with new favorites in their updated versions. Specifically the turn on “One Short Day,” which unexpectedly becomes an emotional whirlwind in its obvious image of the original Broadway run and passing off the torch to Grande and Erivo. It emphasizes the respect everyone involved has for what came before them and the task to continue their legacy. These iconic songs get the cinematic treatment in thrilling build-ups with the pacing of dialogue transitioning to music which makes the beat even more rewarding to the viewer in finally getting to experience the spellbinding songs on the big screen. This is what happens when you have people who know how to make a musical at the helm knowing exactly how to capture from the cinematography, movement of the clothing, and especially the sound.

Every detail from clams lighting up in the enchanting forest while Elphaba sings “I’m Not That Girl” to Galinda’s special stationery speaks volumes to the dedication put forth by its impressive production team to make sure everything in this magical world is to its best. Having each room come to life in ways a stage play cannot gives an immersive experience into the intimacy of this relationship as if the audience is right alongside, never trampling the larger sequences in the way of this film’s beating heart.  The costumes decked out in hidden meaning at foreshadowing and the aura of these characters from bubbled and strong shoulders to a retractable heel, costume designer Paul Tazewell creates the closets of one’s dreams. The clothing story is based in the world of nature by adding texture to a palette of black and pink that highly contrasts one another until the stories of Elphaba and Galinda merge and like any roommate, they start to influence one another’s fashion. Tazewell gives the silhouettes of his characters that hit the lighting of cinematographer Alice Brooks which feels out of a fairytale. Brooks camera movements don’t only highlight the electricity of dance but giving the characters a place to be seen, specifically in the way she captures Elphaba amongst the green foliage in the Enchanted Forest beaming with a lightness for the first time as she is able to let her guard down to Fiyero. Brooks capture emotion first and foremost in each scene where the stage play can’t communicate the same visual language to its audience is made up her by the lens. Establishing the variant cultures of Oz through dressings specific to civilians of The Emerald City, Munckinland, and Shiz speaks to Tazewell’s genius in continuing the world building of what Oz really looks like and the DNA of its people, Mixing the lore of The Wizard of Oz into costumes from past and present with the fine-tuned sets of Nathan Crowley and practical effects makes this film a visual treasure chest of references. 

As Galinda once said, “You actually did it,” speaking to Chu and his creative collaborators taking on a risky mantle that could’ve ended up in disaster but because of their care in every single detail and love for the these larger-than-life characters it becomes a masterpiece to heal anyone’s inner child. Enriching the origins of the 1939 film by infusing the power of filmmaking since they knew exactly what needed to be done to bring the world of Wicked to audiences demonstrating harmonious vocals, dynamic movements, and a real display of artistry. It was worth the 20-year wait for Grande and Erivo to meet their destiny of being two best friends in career-defining roles to be cherished for decades.

Grade: A

Oscars Prospects:
Likely: Best Picture, Best Production Design, Best Hair & Makeup, Best Costume Design, Best Supporting Actress (Ariana Grande), Best Visual Effects, Best Sound
Should be Considered: Best Director, Best Lead Actress (Cynthia Erivo), Best Editing, Best Original Score

Release Date: November 22, 2024
Where to Watch: In Theaters