Since 2003, smears of green face paint and the roaring crescendos of “Defying Gravity” have been consistent Broadway icons. However, on November 24, Universal Pictures brought this famous tale of two witches, Elphaba and Glinda, to the world’s cinemas.
As of January 15, “Wicked” has grossed $698 million worldwide. Churning out incessant pink and green merchandise, from color-changing instant macaroni to Elphaba-themed Crocs, “Wicked” paraphernalia has also proliferated on shelves across the country.
“Wicked” is the first of two parts; the second installment, “Wicked: For Good”, will be released in fall 2025. Part one comes to an end when the Broadway musical’s intermission would occur, with Elphaba, played by Cynthia Erivo, belting through the skies of Oz.
Glitzy costumes, a star-studded cast, and colossal dance numbers fill the screening time of two hours and forty minutes. Additionally, at the insistence of Jon Chu, the film’s director, the sets of “Wicked” feature a sixteen ton green bullet train, nine million tulips, and an entire reservoir constructed for filming. However, is this tremendous budget enough to smooth over a drawn-out plot?
In the opening scene, Glinda, played by Ariana Grande, sails through the air in a saccharine-pink bubble, a bedazzled ball gown engulfing her. From beginning to end, “Wicked” delivers on its promise of jaw-dropping excess, a chance for escapism many audiences may relish.
This visual glut intensifies each time a character opens their mouth or breaks into a highly-choreographed dance display.
During “Dancing Through Life”, Prince Fiyero, played by Jonathan Bailey, vaults through rotating bookshelves and executes a front walkover, all while shamelessly flirting with the student body of Shiz University. This absurdity only intensifies as the film marches on, yet Chu’s directing manages to strike a balance.
Somehow, despite its saturation with computer-generated imagery (CGI) and celebrity cast members, “Wicked” as a whole isn’t nauseatingly extravagant. However, individual characters do toe this line on occasion.
At Shiz University, Oz’s premier wizarding institution, spellcasting talent or acrobatic prowess appears to excuse the main cast from adhering to the uniform code. Glinda dons a pink blazer and matching fascinator, never hesitating to voice her insufferable concerns. Boq, a comical Munchkin student, sports a bow tie and distastefully cropped capris. Elphaba, however, mainly respects the dress code, a certain relief to the administration.
Yet another element of absurdity that lends itself to laughter is Oz’s unique dialect — is it Ozian? Ozlish? — nobody’s sure. However, as Glinda would say, this “splendiferous” quirk solidifies the fantasy realm.
Subtle callbacks to “The Wizard of Oz” and the original Broadway production of “Wicked” sprinkle throughout the film. Idina Menzel and Kristin Chenoweth, Broadway’s first Elphaba and Glinda, make an appearance. Menzel and Chenoweth sing of Oz’s prophecy and the Wizard’s rise to power, satisfying fans both old and new.
Despite the emotional and visual appeal, the primary critique of “Wicked” lies in its unoriginal story. Enter any movie theater and see that spinoffs and remakes fill the halls, from “Moana 2” to “Mufasa: The Lion King”. Is “Wicked” a necessary addition to the world of cinema, or is it just another expensive, recycled plot designed for maximum profit?
In short, “Wicked” is both; Its adapted storyline and $150 million budget are emblems of Hollywood’s current era, one that shows no signs of changing course in the near future.
However, the charm of “Wicked” prevails. Fantasy is inherently escapist, and “Wicked” undoubtedly delivers.
Image courtesy of Wikimedia Commons.
