Review: Massive ‘Wicked’ movie adaptation takes its time to soar, much less defy gravity

As a cinema enthusiast who has spent countless hours immersed in the magical world of musicals, I must say that “Wicked” is a spectacle that truly lives up to its name. With a rich heritage spanning over a century, this film adaptation brings together the best of literature, screen, and stage in an exhilarating blend.

The stage production of “Wicked” doesn’t require a movie version to stay significant – it’s already a cultural sensation, well before the upcoming two-part Hollywood film arrives at cinemas. Based on Gregory Maguire’s 1995 novel “Wicked: The Life and Times of the Wicked Witch of the West,” this Broadway hit reimagines both L. Frank Baum’s 1900 novel “The Wonderful Wizard of Oz” and the classic 1939 film adaptation. Therefore, the upcoming movie is rich with a century’s worth of literary, cinematic, and theatrical history, along with the high expectations that accompany it.

Though Dorothy’s tornado transforming into vibrant color remains deeply etched in our shared memory, equally memorable is the substantial note sung by Elphaba, the story’s pivotal character, at the end of the first act in the iconic song “Defying Gravity.” Composed by Stephen Schwartz, who was responsible for both the music and lyrics of the show, this note serves as a central motif. In the grand-scale film adaptation directed by Jon M. Chu, every moment of its 2 hours and 40 minutes is dedicated to leading up to that single, powerful note.

The battle cry that emerges from Elphaba (played here by the Tony-winning, Cynthia Erivo) is a moment in which the anti-tyrannical ethos of the film snaps into focus with such crystal clarity that it’s breathtaking. It’s just the preceding rising action that feels a bit underwhelming.

As a devoted fan, I’d put it like this: “In ‘Wicked’, the untold tale unfolds, penned by Dana Fox and Winnie Holzman (with Winnie being the genius behind the show’s script). The narrative commences when a resident of Munchkinland audaciously queries Glinda the Good Witch within her grand, pink bubble, “Is it true you were friends with her?” This inquiry triggers a reminiscence – a tale that would span an entire film – transporting us back to their days at Shiz University, where their paths first crossed.

In a world where Elphaba, who has always been different due to her unique green skin and a distant father’s emotional detachment, enrolls at Shiz after her sister Nessarose (Marissa Bode) invites her. Unbeknownst to her, Elphaba unintentionally demonstrates raw, untamed magical abilities, which captures the attention of Madame Morrible (Michelle Yeoh), the school’s headmistress. Due to a series of events, Elphaba is paired with Galinda (initially known as the Good Witch, but more commonly recognized by a shorter name), a charming, popular girl with a fondness for pink. Although they start off on the wrong foot, Galinda feels compelled to try styling her new roommate’s appearance.

“The tale is like a blend of ‘Harry Potter’ and ‘High School Musical’, but with an emphasis on magic. However, the visual effects could be improved. The script should transport Elphaba and Galinda to Oz, introduce them to the Wizard (Jeff Goldblum), and develop Elphaba’s reason for eventually challenging the wizard (and overcoming gravity). This motivation is tied to a subplot where animals are being forced out of their integrated society into cages.

Grande is delightful as Galinda, showing off her comedic gifts (honed in the Nickelodeon trenches) and superb voice. She’s all big brown eyes and a pout, which she puts to marvelous use in her performance as the petulant princess of Shiz, but her character turns are quite flat and the world-building of this school could have been so much sharper and funnier. Bowen Yang of “SNL” does heroic work with a few ad libs and reactions as Galinda’s pal Pfannee, and Jonathan Bailey is terrific as the dashing prince Fiyero, but the setting doesn’t feel well-rounded on-screen.

Previously, Chu has been known for his outstanding work in movie musicals, notably “In the Heights” from 2021. However, unlike other projects, “Wicked” stands out as his least visually inventive film. The camera work, while creative during song and dance sequences thanks to CGI, is rather ordinary in all other scenes, with the background appearing dull and indistinct behind the actors.

However, “Wicked” will surely please enthusiasts of the stage show, as it offers an accurate translation while maintaining a fun yet respectful approach towards the legendary “Defying Gravity.” It continues to be a narrative emphasizing comprehension and unity amidst oppressive social structures that thrive on fear and discord.

As the next part approaches, “Wicked” has grown beyond the point of failure. However, the pressure of anticipation can be quite burdensome, and it seems to slow down this competent film adaptation as it attempts to gain momentum. Nevertheless, once it takes off, it is unquestionably powerful, delivering a poignant message about freedom and rebellion that feels particularly relevant today.

Katie Walsh is a Tribune News Service film critic.

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2024-11-19 23:31