Wicked – Review

Not many stories have captured the imagination quite like L. Frank Baum’s The Wonderful Wizard of Oz (1900). From the iconic ruby slippers to the yellow brick road, to the vivid technicolour imagery of the 1939 film adaptation, The Wizard of Oz, the musical fantasy series has become ingrained in popular culture, with its themes of courage, friendship, and self-discovery resonating with viewers of all ages and generations. 

But as beloved as the book and film are, its black-and-white depiction of good versus evil invites a question: What if the Wicked Witch of the West, who terrorised Dorothy and her companions, wasn’t as wicked as she seemed? What if the story we thought we knew was just one side of a much more complex tale?

Wicked, the long-awaited film adaptation of the blockbuster musical, itself loosely adapted from Gregory Maguire’s 1995 revisionist novel, Wicked: The Life and Times of the Wicked Witch of the West, takes this familiar narrative on its head. Directed by Jon M. Chu, who is no stranger to visually stunning rom-coms and musicals à la Crazy Rich Asians (2018) and In The Heights (2021), the movie dives into the backstory of Elphaba (Cynthia Erivo, Harriet), the so-called Wicked Witch, and her unlikely friendship with Glinda (Ariana Grande, Victorious), the Good Witch. With a Broadway sensation that grossed over US$6 billion worldwide, the film adaptation ofWicked doesn’t just reimagine The Wizard of Oz, but also reframes it as a story of power, prejudice, and the consequences of fear.

Clocking in at 2 hours and 40 minutes, this first instalment – Wicked – covers only the events of the musical’s first act. Instead of expanding the plot, screenwriters Winnie Holzman (My So-Called Life) and Dana Fox (Cruella) allow the story to breathe, lingering on key moments and songs to create a richly detailed world. From its opening twist to its cliffhanger ending, Wicked establishes itself as a bold reinterpretation of a timeless story, leaving viewers eager for what’s to come in Part Two.

Grande, as Glinda the Good Witch, begins the film on a triumphant note, declaring the death of the so-called Wicked Witch of the West amid the celebrations of Munchkinland. Grande captures Glinda’s bubbly, flighty persona with a charm that veils a sharper complexity underneath, showcasing her range and delivering a compelling performance in her first song, No One Mourns The Wicked, showcasing her impressive range as an actress. 

There’s much more to this story, and Wicked wastes no time in rewinding to Glinda’s early days at Shiz University, where she first encounters Erivo’s Elphaba, the future Wicked Witch of the West. Director Chu presents this initial, Hogwarts-like setting with flair, leaning into the fantastical, slightly absurd design of Paul Tazewell’s (Hamilton) uniforms – gender-fluid ensembles that feel plucked from a high-fashion runway. Chu masterfully builds anticipation for Elphaba’s arrival, offering tantalising glimpses before Erivo fully steps into view. From her first appearance, Erivo commands the screen, infusing Elphaba with a potent mix of steel, vulnerability, and idealism. 

Glinda, on the other hand, arrives in a gondola overflowing with pink luggage and effortlessly claims her social dominance, quickly surrounding herself with sycophants like Pfannee (Bowen Yang, Saturday Night Live) and ShenShen (Bronwyn James, Lockwood & Co.) and manipulating the affections of the sweet-natured Boq (Ethan Slater, SpongeBob SquarePants). The contrast between Glinda’s easy privilege and Elphaba’s hard-earned defiance is sharply drawn, setting the stage for the deep yet fraught connection that will define their relationship.

The film doesn’t shy away from deeper social commentary, threading themes of discrimination and marginalisation into its vibrant world. Elphaba finds a kindred spirit in Dr. Dillamond (voiced by Peter Dinklage of Game of Thrones fame), a history professor and one of the last animals allowed to teach. Through Dillamond, the film explores the systematic oppression of Oz’s nonhuman population, illustrating how they are silenced, stripped of rights, and pushed to the margins of society. While this subplot has always been part of Wicked’s DNA, its resonance feels especially timely, inviting audiences to consider parallels with contemporary issues like immigration and systemic injustice, threading these weighty themes into its fantastical setting.

Amid this layered social commentary, Elphaba’s journey of self-discovery takes centre stage. Under the tutelage of Madame Morrible, played with calculating charm by Michelle Yeoh (Everything Everywhere All at Once, Crazy Rich Asians), Elphaba begins to view her magic not as a curse but as a gift. Morrible, recognising the sheer depth of Elphaba’s powers, nurtures her talent with promises of an audience with the Wizard of Oz, portrayed by Jeff Goldblum (Jurassic Park, The Fly) in a gleefully enigmatic turn. The mentor-mentee dynamic sets the stage for Elphaba’s first solo number, The Wizard and I, a moment where Erivo strips away her character’s defences and lays bare her dreams. Chu’s direction amplifies the emotional impact of the song, placing Elphaba on a breathtaking clifftop as she belts out her desires, creating a visual metaphor for her soaring ambitions.

Chu’s vibrant world-building bolsters the film’s emotional core, crafting a magical Oz that feels fully immersive and alive. Reuniting with In The Heights cinematographer Alice Brooks, along with The Greatest Showman (2017) production designer Nathan Crowley and costume designer Tazewell, Chu crafts a fully immersive fantasy environment. The magical world of Oz is brought to life with tangible, large-scale sets, from the dynamic cylindrical shelving of the Shiz University library to the shimmering grandeur of Emerald City. Digital effects are seamlessly integrated, enhancing rather than overshadowing the physical environments, which allow the cast to interact naturally without relying too heavily on green screens. The attention to detail imbues places like the university woodlands and the Ozdust Ballroom with charm and character, making them feel alive and integral to the story.

The film’s visual richness extends to its musical numbers, showcasing the combined talents of Chu, choreographer Christopher Scott, and Brooks. The trio, who previously collaborated on In the Heights, demonstrate a keen understanding of how to translate stage choreography to the screen. Dancing Through Life is a prime example, as Jonathan Bailey’s (Bridgerton) Fiyero leads a sweeping ensemble dance that shifts effortlessly from the intimate charm of his close-ups to the grand spectacle of synchronised movement in the library. Through these elaborate musical sequences, Wicked not only entertains but also provides insight into the characters’ inner lives, their hopes, and their struggles.

At the heart of the film is the dynamic between Elphaba and Glinda, brought to life with intense chemistry by Erivo and Grande. Their relationship, marked by tension, growth, and eventual friendship, is Wicked’s emotional anchor. Grande, as the entitled yet somehow still endearing Galinda (later Glinda), perfectly captures her character’s self-absorbed charm while subtly hinting at the goodness she will eventually embody. Her comedic timing shines in her rendition of Popular, a scene-stealing moment filled with humour and charm as she attempts to give Elphaba a makeover. Grande’s vocal control and character-driven delivery raise the performance beyond mere spectacle, making it both heartfelt and hilarious.

If Glinda brings the lightness, Erivo’s Elphaba provides the emotional weight. Her portrayal is a masterclass in vulnerability and defiance, making Elphaba an outcast hero worth rooting for. From her raw rendition of The Wizard and I to her emotionally charged moments of self-assertion in the iconic Defying Gravity, Erivo channels the pain and pride of a woman bullied for her differences yet unwavering in her beliefs. Chu wisely keeps the camera close during these moments, allowing Erivo’s expressive performance to carry the film’s most poignant scenes. Her layered portrayal recalls her Tony-winning turn in The Color Purple (2013-2015), blending fierce resilience with an aching humanity that elevates the story.

The decision to record the songs live on set enhances the film’s authenticity, allowing Erivo and Grande to deliver Stephen Schwartz’s (Pocahontas, The Prince of Egypt) music with spontaneity and emotional immediacy. Their performances feel organic, as though the characters are bursting into song because words alone can’t contain their emotions. Both actors’ musical theatre roots shine as they effortlessly transition between dialogue and song, avoiding the awkward pauses that often plague movie musicals. This seamless integration immerses the audience fully in the story, making the characters’ experiences feel genuine.

And what an experience it is. Wicked takes us on a whirlwind journey through Elphaba’s transformation from misunderstood outcast to defiant heroine. Her disillusionment with the Wizard and her embrace of her true identity crescendos in the show-stopping number Defying Gravity. Chu’s pacing ensures that this climactic moment lands with maximum impact, solidifying its place as the film’s emotional and thematic high point. Erivo’s knockout performance channels both vulnerability and defiance, her voice soaring as she takes flight – figuratively and literally – above the constraints of her world.

It’s the kind of number that feels like a natural stopping point, setting the stage for the second instalment without losing the momentum built thus far. Wicked is a triumph of cinematic storytelling, seamlessly blending music, spectacle, and social commentary to create a truly captivating experience. Erivo and Grande deliver powerhouse performances, supported by a talented cast and Chu’s masterful direction. While the film’s reliance on CGI in some scenes may detract from its overall aesthetic, it more than compensates with its emotional depth, stunning visuals, and unforgettable musical numbers.

This is a film that will undoubtedly leave you wanting more, proving the citizens of Oz wrong: “No one mourns the Wicked…” But mourn we shall – for the agonising wait until Part Two!

Natalie

Natalie is a big fan of anything related to movies, TV shows, games, and comics — you name it. When she’s not reading or geeking out about the latest shows on Netflix, she’s probably playing gacha and tabletop games, or daydreaming of Sylus from Love and Deepspace.