Ever since the announcement of this film, there’s been questions around whether it’ll live up to one of the most beloved musicals of all time. Despite all the concern and trepidation, Wicked (part 1) is a phenomenal adaptation that honours the stage production, sticks to the script and uses its film format to expand on the world and story.
The narrative follows Elphaba, a misunderstood woman who is shunned due to her green skin, and Glinda, a popular student attending Shiz University. Despite their differences, a friendship sparks that changes them for the better. The Wicked story is one filled with heart, fun, laughter and sadness – a beautiful tale about the strength of friendship and how there’s always more to people than what’s on the outside. It’s a beloved story that has been adapted to the screen in the most faithful way possible – a true love letter to the production, its fans and the talent that made it as big as it is. One big talking point going into this film was the runtime – at 2 hours and 40 minutes, it’s longer than the entire musical yet only covers the first act. I was sure they’d be adding characters, songs and maybe even entire acts to pad out the runtime, which was honestly a cause for concern. However somehow, someway, this film sticks to the script from start to finish, not adding anything substantial and not taking away anything either. Sure, there’s minor additions, but the extra hour of content comes simply from letting the story breathe, adding a minute here and a minute there to flesh out the big moments and adding more depth to its emotional arcs.
That being said, it’s not bogged down by this extended runtime either – it actually still moves considerably fast for a nearly 3-hour film. The stage musical is a speedy production, needing to cover its entire story in 2 and a half hours, so it makes sense that this would still move fast even when extended. There’s a point about 1 hour and 45 minutes in where I thought I’d only been watching for 60 minutes max – time flies because of how much of a delight this is to watch as a Wicked fan. The emotional weight of the story is a huge part of the production, and none of that is lost here. If anything, dare I say it’s enhanced through the writing and strength of the performances. This is a story that will bring about the tears and the excitement – I can testify to that given I was emotional through multiple scenes, including the entire climax. It’s also a story that doesn’t require you to have seen the production to enjoy it – it’s still just as impactful and heartwarming whether it’s your first time or 5th.
Speaking of the performances, this is yet another example of perfect casting across the board. First of all, I cannot stress enough how perfect Ariana Grande is in the role of Glinda. Whether your first exposure to Wicked was with Kristin Chenoweth, Lucy Durack or even Courtney Monsma, each of those women made the role their own, and Grande has followed suit. She nails Glinda’s privileged princess demeanour, her quirky clueless vibe, and also her deeply caring heart. Her acting range in film alone is fantastic – she’ll make you laugh and cry within the same scene, then belt out a breathtaking performance of one of the many iconic songs. It’s Ariana Grande… I don’t need to tell you she’s an amazing singer… but she’s an amazing singer. She brings her own flair to the songs while still capturing the heart and meaning of each one. She’s accompanied by Cynthia Erivo who is equally as perfect in the role of Elphaba, channeling the energy of the character while also bringing something different to what Idina Menzel and Gemma Rix have done. Erivo shows off her incredible acting chops as she transforms into Elphaba, showcasing the strength, heart and insecurities of the character in brilliant fashion. She also taps into her Broadway beginnings to light up the screen with a powerful singing performance. Her voice is wonderful throughout, but what she does with “Defying Gravity” gives me chills.
They’re also the perfectly-cast duo when it comes to chemistry. If you’ve seen them in interviews, they gel together on a scary level. They understand each other and they understand their characters, bringing about an energy that’s undeniably phenomenal when they share the screen. Then there’s the lineup of supporting characters who all do their part and nail their roles. Jeff Goldblum is notorious for appearing in roles as “Jeff Goldblum in costume”, so when he was cast as the Wizard I couldn’t help but be weary of whether he’d be Goldblum or Oz. While he still has his Goldblumisms, they’re subdued and not obvious. The eccentricities also fit with the character’s general vibe, so overall he makes a great Wizard that doesn’t feel out of place. When it comes to charming, Jonathan Bailey effortlessly brings Fiyero to life with a suave performance that has you immediately enjoying his presence. While he may seem one-dimensional at first, Fiyero has a bit more complexity to him, and Bailey does well to convey that through the few big moments he has. Lastly there’s the unmistakable voice of Peter Dinklage as Dr. Dillamond, and while he may not be seen in the flesh, he contributes to the big emotional hook of the first act with a top notch performance.
By far the element I was most excited about was how the film would be able to use the benefits of its format to improve on the cinematic nature of the story. The production does a great job with its staging and set design, but you can only go so far with that. So it goes without saying that this is a breathtakingly beautiful film that’s both grand and impressively cinematic from beginning to end. From Munchkinland to Shiz and the Emerald City, it’s clear director Jon M. Chu prioritised practical sets over completely CGI soundstages, and the positive impact is clear as day. The locations, although magical and full of wonder, feel tangible and real, adding to the enchanting atmosphere and overall immersion in the story. As much as I love the musical, being able to see these big moments like the “Defying Gravity” climax on the big screen is an experience like no other. It enhances the emotional impact of those big moments as you get to see the environment and context without the need to envision it.
Speaking of the musical sequences, I’m going to keep singing this film’s praises as it nails every single hit from “Popular” to “The Wizard and I” and more. My one and only criticism when it comes to the songs is that trying to refrain from applauding at the end of each piece was a struggle like no other. Having original Wicked composer Stephen Schwartz on board writing the music for this film is the perfect move, resulting in a faithful adaptation that translates every song perfectly… and even makes some additions. Schwartz improves on his original work by updating songs with some new lyrics, a couple additional verses and some musical breaks within songs to make room for some visual storytelling. These unique touches make a wonderful point of difference to the stage musical, while also not detracting anything or bloating the songs. Backed by the stunning singing performances of both Ariana Grande and Cynthia Erivo, every musical number hits its mark, giving me goosebumps at multiple points and even ramping up the emotional weight of the story.
In the end, Wicked is just phenomenal. It’s a stage-to-screen adaptation of the highest quality – one of the best to ever be made (but I’ll hold off on that for now). The love, care and attention to detail that went into crafting this adaptation is clear as day from the production design to the musical numbers. The story is as gripping as it is on stage, and made even stronger through the cinematic additions. For Wicked fans, the songs still deliver goosebumps and chills aplenty, while the key story beats are emotionally impactful. Led by exceptional performances from Cynthia Erivo and Ariana Grande, this is a film I can see myself going back to again and again.
As for the score, it’s basically a 10, but I can’t yet give it that as it does feel like half a movie. Some ‘part one’ movies feel like a complete film, but this one is explicitly like a “to be continued”. It’s not a negative, more an observation and product of its source material.
9.8/10
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