Wicked: Part I

Released September 22, 2024

Directed by Jon M. Chu

Written by Winnie Holzman, Stephen Schwartz and Dana Fox

Based on the characters by Gregory Maguire and L. Frank Baum

* No Spoilers - but discussion of character arcs and comments on finale *

I did not expect to like this movie. I can appreciate a good musical, but they aren’t my preferred genre and Ariana Grande’s quirks can get under my skin. Add in the overwhelming hype train, and I walked into the theatre bracing for disappointment. By the time I left, my pessimism had shattered, and I was ready to applaud, humming along to the soundtrack all the way home.

Wicked: Part I, is a film adaptation of the Broadway musical of the same name, based on the 1995 novel by Gregory Maguire, which in turn is a spin-off of the classic 1939 film and 1900 book The Wizard of Oz written by L. Frank Baum. To say there are meta-textual layers to this is an understatement. Derivative? Perhaps, but far from unnecessary and definitely not unwanted.

This is not a stand-alone film. The marketing doesn’t make it clear but story is left unfinished. That is not a gripe; it’s just a fact, and I don’t think anyone should go into this expecting everything to be wrapped up. As the name implies, this is a prelude that begs for resolution. That is part of why it works so well. Unless you are completely jaded, cynical, and heartless, I can’t see how you could leave the theatre not wanting to see more.

Director Jon M. Chu (In the Heights) differentiates this adaptation from the stage play by using montage, camera perspective, and other cinematic techniques. While the cinematography is inconsistent, sometimes drab and dull, and at others vibrant and exuberant. When it hits, it really hits. The finale is stunning, but it makes the preceding dimly lit and muted interior scene feel flat by comparison. I understand why it was dark to contrast the brilliant finale, but dark scenes can still use dynamic lighting rather than using a dark blue filter to dull the entire scene. On the other hand, the set and costume design are impeccable, capturing the magic of Oz in ways we haven’t seen before. As impressive and grand as the sets are, they deliberately still feel like movie sets, evoking the aura of the 1939 film.

This is not a short movie, clocking in at 2 hours and 40 minutes. It does not zip by, and at some points dragged. There are some comedic bits, and even musical numbers, that could definitely have been trimmed down. I appreciate that they are laying the foundation for the next part, but it made the movie feel bloated at times.

By its very premise, Wicked is intentionally subversive. Turning the “evil” Wicked Witch of the West into a sympathetic and genuinely good character is a compelling reversal of the original story. This film adaptation follows suit by spotlighting several themes without holding back. The story bluntly addresses racial discrimination, unity through hatred of a constructed enemy, the vilification of those who are different, and most powerfully, saviour complexes and performative activism. Some may find the in-your-face socio-political commentary abrasive, but I wouldn’t be surprised if these ideas were still lost on some audiences, despite how overt they are.

Nearly every role is perfectly cast. Peter Dinklage (Game of Thrones) as the voice of Dr. Dilamond, Ethan Slater (The Spongebob Musical) as the munchkin Boq, Jonathan Bailey (Bridgerton) as the dashing Prince Fiyero, and newcomer Marissa Bode as Nessa, are all fantastic. Jeff Goldblum (Kaos) is nothing short of inspired as the Wizard of Oz himself. His eccentric vocal cadence fits so well with the peculiar and enigmatic character. As much as I adore Michelle Yeoh (Everything Everywhere All At Once), she unfortunately fell short when compared to the rest of the cast, especially during her, thankfully brief, musical scene. I also appreciated the cameos from the leads of the Broadway musical, Idina Menzel (aka Adele Dazeem — IYKYK) and Kristen Chenowith,

Ariana Grande (Victorious) plays Galinda (who will eventually be known as Glinda, The Good Witch). Despite my general aversion to her, I loved the performance. As expected, she is an incredible vocalist, hilariously harmonizing casual and seemingly ad-libbed lines, and effortlessly hitting the highest of notes. Where she really shines is her comedic timing and especially her physical comedy. Subtle gestures, consistently posing to camera, and snide comments made in passing earn a laugh every time. I can’t imagine anyone else who could have played the role better than her.

Grande perfectly embodies the “pick-me” vibe, constantly trying to reaffirm her “goodness” while having no self awareness of her superiority complex. Her character is a spot-on allegory for performative white liberal feminism, determined to save the less fortunate while sticking her nose up at them. Her character isn’t evil, just deeply flawed. Complex and nuanced, she is willing to stay silent if it means she gains the approval she seeks. Utterly insecure, she is blinded to her self righteous saviour complex by a lack of perspective rather than malice.

Cynthia Erivo (Harriet) plays Elphaba, the soon to be titular, Wicked Witch of the West. Erivo is an absolute powerhouse. Her performance is emotionally gripping, simultaneously conveying sullen apprehension and passionate resolve. Her eyes are so emotive and empathetic that those moments where she sheds a single tear feel intense and impactful. On top of that, her tremendous vocal range and sheer lung capacity are baffling. The finale and her performance of “Defying Gravity” are rousing, epic, and triumphant. I was mesmerized, and even before the exhilarating climax, she steals every scene she’s in.

Erivo expressed a desire to maintain her Black identity in the character, insisting on wearing her hair as micro braids. I’m surprised the story worked on stage without casting Elphaba as a woman of colour. Her character is so coded toward being discriminated for her skin colour, silenced for her empathy, and vilified for her vocal protest of oppression. The green skin has always been metaphor for the marginalized, but the story is not shying away from Elphaba being overtly Black, and it’s much richer for it.

This is a proper musical and nearly every track is an emotional crescendo that pushes forward plot or character arcs. My favourites were the unrelentingly catchy “Popular” and the breathtaking “Defying Gravity”. The score by John Powell (How To Train Your Dragon) is bombastic and grandiose enough to be truly cinematic. Movie events that demand a packed crowd are exceedingly rare, but Wicked: Part I is definitely one of those theatre experiences that are enhanced by large crowd, all simultaneously captivated by what’s on screen.

Wicked: Part I is one of the biggest cinematic events of the year. Surrounded by tons of hype, and very high expectations, I went in pessimistic but was wholeheartedly won over by the end. It’s not perfect. It was sluggish at times and certainly could have been trimmed down. Likewise, some cinematography feels muted and flat, despite other scenes being brilliant. Overall, the incredible acting, rousing musical numbers, and strong social commentary make for a powerful film.

8/10 - You will leave the theatre humming the music, Googling the sequel’s release date, and maybe even buying some green face paint for your next Halloween costume. I think this movie made me actually like Ariana Grande!

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