Defying gravity is hard, sure. But defying expectations is nearly impossible, especially when it comes to adapting a property as universally beloved as the long-running Broadway musical “Wicked.” The show — itself based on Gregory Magurie’s 1995 novel that gave a backstory to Elphaba, the Wicked Witch of the West from L. Frank Baum’s "The Wonderful Wizard of Oz" — became a worldwide sensation when it debuted in 2003. “Wicked” was a breath of fresh, fantastical air in the musical theater world. It achieved global success and touched the lives of millions of theater geeks and aspiring ingenues alike with its showstopping numbers and visionary production. What’s more, it made its stars Idina Menzel and Kristin Chenoweth into household names for their roles as Elphaba and Glinda, respectively.
“Wicked” consistently dazzles, glittering with an abundance of star power and a rock-solid emotional center in Erivo’s not-so-wicked witch.
But that enormous level of cultural impact is precisely what makes a film adaptation of “Wicked” a dicey decision. The musical has become such a staple in the pantheon of pop culture that a movie version could turn a lucrative Hollywood no-brainer into a cringeworthy laughingstock if the source material wasn’t handled with the care that diehard fans expect. Then there’s the added challenge of making a film that is both faithful to the cherished stage production and accessible to audiences who are entirely unfamiliar with the show. Consider the hyper-critical eyes of the fanbases of stars Cynthia Erivo and Ariana Grande, who were tapped to portray the film versions of Elphaba and Glinda, and the film could be faced with pressure that proves insurmountable.
Despite being a lofty task, “Wicked" rises to meet its grand potential. The film is a bewitching spectacle, a classic holiday season event movie that brims with enough earnestness to keep even its fluffiest moments from becoming corny intellectual property slop. Director Jon M. Chu leans into the whimsy of Baum’s original story, crafting a version of Oz that feels reminiscent of the one in our collective consciousness without being a direct copy, while balancing that playful atmosphere with the darker adult themes that permeate Maguire’s novel. In that way, Chu takes a stab at making a blockbuster for our times, one that doesn’t shy away from contending with the darkness of contemporary politics and society. Though Chu doesn’t always hit the mark — hindered by some baffling creative decisions along the way — “Wicked” consistently dazzles, glittering with an abundance of star power and a rock-solid emotional center in Erivo’s not-so-wicked witch.
Marissa Bode as Nessarose and Cynthia Erivo as Elphaba in "Wicked" (Universal Studios)As with the musical, “Wicked” takes place before the events of "The Wonderful Wizard of Oz "and its 1939 film adaptation, in a version of the faraway land of Oz that hasn’t yet seen any flying houses or monkeys. Before she was given her evil moniker, the Wicked Witch of the West was known simply as Elphaba (Cynthia Erivo), who, despite being born to prominent political figures in Oz, was made into an outcast because of her inexplicable green skin. Though she shows promise in the field of sorcery from a young age, the color of Elphaba’s skin ensures that she stays a pariah barred from studying her powers. That is until her younger sister Nessarose (Marissa Bode) is accepted into Shiz University, where a chance meeting with one of Oz’s most skillful sorcerers, Madame Morrible (Michelle Yeoh), grants Elphaba the opportunity to learn alongside other aspiring witches and wizards.
The most plucky and popular of the student body is Glinda (Ariana Grande), who gets everything she wants with a flick of her wavy blonde hair — which Grande does to repeated comedic effect — except when it comes to her roommate assignment. Glinda and Elphaba are given a shared dorm, and as Elphaba’s favor grows with Madame Morrible, things between the two young witches become increasingly contentious. Even as their characters spar, Erivo and Grande maintain a chemistry palpable enough to keep viewers rooting for their inevitable enemies-to-besties shift. But the screenplay, penned by the stage production’s book writer Winnie Holzman along with Dana Fox, has enough emotional highs and lows to keep the journey entertaining, despite audiences being able to figure out the destination.
The highs are most frequently supplied by the film’s magnificent musical numbers, which boast the stellar choreography typical of Chu’s work while highlighting the movie’s meticulous production design and practical set pieces. Though there are flourishes of new material, disciples of composer Stephen Schwartz’s songs can breathe a sigh of relief knowing that the changes are minor but welcome. A new ending to “Popular” allows Grande to light up the screen, twirling and kicking to the finish line of one of the musical’s most adored cuts. Elsewhere, the film’s version of “The Wizard and I” benefits from letting Erivo run and frolic about the Shiz University campus, cleverly supplying viewers with a sense of atmosphere and space that is not typically afforded in a stage show. In fact, “Wicked” operates with its audience constantly in mind, keeping an amiable pace that manages not to be bogged down by too many songs or unnecessary reprises.
Peter Dinklage voices Dr. Dillamond in "Wicked" (Universal Studios)That doesn’t, however, mean that the film’s 160-minute runtime is entirely earned, especially considering that “Wicked” is only the first installment in a two-part event. (“Wicked: Part Two” is slated for November 2025.) Chu struggles to give the burgeoning friendship between Elphaba and Glinda the same thrust as he does the film’s central plot, which has a more momentous push in the movie’s second half. Mysterious forces seek to quiet the talking animals of Oz, who preach freedom and unity. When “Wicked” leans into this disquieting tension in its final act, the film proves a much more interesting affair than when it focuses on its central friendship, even if Glinda and Elphaba are perfectly pleasant to watch. Well, when we can see them, at least. While “Wicked” doesn’t need to be the same technicolor utopia as “The Wizard of Oz,” the movie often leaves its characters drowned out by perplexing lighting design. The film’s version of “Dancing Through Life” is so backlit that it’s hard to make out characters beyond a blinding white glare, an offense second only to the way Elphaba is filmed in low light. With the character’s green skin shrouded under shades of navy color grading, it’s almost impossible to see Erivo emote in scenes where it counts the most.
This story is not merely a retconning of America’s most beloved fairy tale, it’s a warning about the spoils of unregulated power.
Luckily, Erivo is a gifted enough performer to transcend these mystifying decisions. Her Elphaba is quiet and tender, a perfect complement to Grande’s joke-cracking chatterbox Glinda. Erivo supplies the film with Elphaba’s tinges of long-held sorrow and confusion that allow “Wicked” to be in conversation with the world it’s being released into. Elphaba’s progressiveness and curious soul reflect a real-life society troubled by the potential ramifications of Donald Trump’s reelection. When Elphaba journeys to Oz alongside Glinda in the film’s final half hour, she discovers that it’s not just her magical power but her indefatigable spirit that makes her an enemy to the Wizard (Jeff Goldblum). Seeing how easily Elphaba’s good nature is twisted to fit the agenda of those who seek uniformity and total control is unnervingly parallel to the racist rhetoric so often parroted by conservative mouthpieces.
Jeff Goldblum as The Wizard of Oz and Michelle Yeoh as Madam Morrible in "Wicked" (Universal Studios)
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That the themes explored in Maguire’s novel are just as relevant 30 years after its publication speaks to just how important “Wicked” is. This story is not merely a retconning of America’s most beloved fairy tale, it’s a warning about the spoils of unregulated power. And with the film’s electrifying final song, “Defying Gravity” — which also serves as the closing number for the musical’s first act — Erivo delivers a jaw-dropping, applause-worthy performance worth the price of admission alone. During this sequence, the film’s flaws briefly fade, giving way to the kind of classic movie magic that has become all too scarce. Whether the follow-up movie can sustain this momentum is anyone’s guess. But if its spell is as enchanting as “Wicked,” these films could be a far-reaching, critical reminder to audiences everywhere to keep moving forward in the face of ceaseless uncertainty, no matter how dark things may get.
"Wicked" Part 1 is in theaters nationwide Friday, Nov. 22.
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