As a lifelong theater enthusiast who has seen “Wicked” more times than I care to admit, let me tell you that this film adaptation is nothing short of a spectacle! The casting was spot on, with Jonathan Bailey’s Fiyero stealing the show for this Broadway junkie. The sets were breathtakingly beautiful, particularly the underwater Ozdust Ballroom – I mean, who knew Sugar Gliders could play drums so well?
According to Fiyero, life seems easier when you’re carefree. While the Wicked prequel movie offers an engaging narrative, it’s significantly less intense than the original Gregory Maguire novel. Our focus, however, is on enjoying the music. There are 11 songs in the first act of the popular Broadway musical, and that’s how many there are in Wicked (Part One). (It’s worth noting that this only covers half the story, a detail that might not have been clearly communicated during the early marketing phase.)
Absolutely, everything’s present, ranging from standout numbers such as “The Wizard and I” and “Defying Gravity,” to tracks that some might skip like “Something Bad” and “A Sentimental Man.” Similar to his 2021 adaptation of In the Heights, director Jon M. Chu demonstrates a knack for orchestrating grandiose musical numbers, but he also has hidden talents. Some of the film’s most impressive musical sequences occur when Chu innovatively adapts them to cinematic language. However, certain songs can occasionally get overshadowed amidst the scale and opulence of the $145 million production.
It’s generally accepted that Stephen Schwartz’s Wicked score has both peaks and valleys – no offense to the songs mentioned earlier. Recognizing the top and bottom musical numbers in the film won’t be a shock for those familiar with the show. To create this ranking, I took into account various factors such as performances, staging, visuals, but most significantly, how often the song left me thinking, “They nailed that performance.
11.
“A Sentimental Man”
It’s important to note that Jeff Goldblum wasn’t brought on board for his singing abilities, which are passable. The main musical number in Act II, or as some might say “Wicked Part Two”, is where the Wizard’s bigger song lies, so there’s no need to worry until then. The song “A Sentimental Man” is more of a minor number, but it stands out for one of my favorite instances where Stephen Schwartz cleverly rhymes “ascent” with “parental”, although you need to sing “ascental” to make the connection.
In the movie, we indeed see the Wizard moving gracefully around his compact model of Oz, which is quite enjoyable. However, I found “A Sentimental Man” challenging because Goldblum’s strong character presence makes it hard to accept him as the Wizard fully. When a song demands authenticity or the appearance of sincerity, Goldblum’s distinct personality becomes even more noticeable.
10.
“Dear Old Shiz”
As a movie lover with a soft spot for musicals, I must admit that while Galinda’s powerful high notes were certainly on display and always welcome – be it Ariana Grande, Kristen Chenoweth, or any other talented soprano actress who’s taken on the role of the Good Witch – there wasn’t much else to this segment that left a lasting impression. Even Keala Settle’s introduction as Miss Coddle couldn’t elevate “Dear Old Shiz” above the rest. It’s not a reflection of Keala’s talent, but rather the material itself falling short – it simply doesn’t have the emotional depth and impact of iconic performances like “This Is Me.” That being said, the cast delivers exceptional vocal performances, whether through the enchantment of live singing or skillful post-production techniques that blend their voices harmoniously.
In a nutshell, “Dear Old Shiz” is hard-pressed to find a spot anywhere other than at the bottom of the list. The main factor dragging it down isn’t necessarily the song itself but rather how Elphaba’s entrance steals the limelight.
9.
“Something Bad”
As a die-hard musical enthusiast, let me tell you that I was initially skeptical about how “Something Bad” from the Wicked movie would compare to the Original Broadway Cast Recording’s infamous skip. However, I must admit, it turned out better than I had anticipated, especially during Doctor Dillamond’s big scene. Despite my reservations about the CGI in the film – a topic I’ll delve into later – they managed to convincingly transform Peter Dinklage into a goat, which was quite impressive compared to Elphaba’s Bear nanny. And while his singing voice may not be extraordinary, it certainly holds its own for this particular number, a task he handled admirably.
Regarding the portrayal, the musical “Wicked” leans more towards demonstration than explanation, which can be both advantageous and disadvantageous. Notably, the silhouette animation of animal persecution in Oz is impactful and helps overshadow some less compelling CGI effects seen in Doctor Dillamond’s chamber. This shadow play representation may well be the most effective portrayal of “Something Bad” presented to us.
8.
“I’m Not That Girl”
Although “I’m Not That Girl” from the Wicked movie features another of my favorite lines by Stephen Schwartz (“she who’s winsome, she wins him”), it’s not the same character as depicted in the film. Cynthia Erivo delivers a strong performance, particularly during scenes where Elphaba is heartbroken and tearful. However, the song lacks depth, an issue I attribute to the CGI effects that give the forest an unnatural, artificial appearance.
The tune carries most of the impact, leaving little room for criticism. Yet, one can’t help but hope that Chu could have emphasized the song’s intimate aspect more, rather than focusing on a visual spectacle that seems to overwhelm Erivo.
7.
“No One Mourns the Wicked”
The delightful shock about the movie “Wicked,” which had me questioning due to numerous postponements, is that it succeeds more times than not. Considering this, we’ve arrived at a section in our list where I’m mostly optimistic! The title “No One Mourns the Wicked” sets a hopeful tone for the film, showcasing director Chu’s knack for grand musical sequences and the effort put into crafting stunning practical sets. The depiction of Munchkinland is impressive, striking a balance between echoing the 1939 “Wizard of Oz” while maintaining its unique identity.
One issue I have, other than the CGI bear nanny during Elphaba’s birth scene, which underutilized the talented Sharon D. Clarke, is that Ariana Grande appears somewhat overpowered by the bustling environment in the film compared to the stage production. Despite her stellar performance as Glinda, her initial song is overshadowed by excessive activity happening around her, making her performance not as impactful as it could be when contrasted with the original Broadway version.
6.
“One Short Day”
In “One Short Day,” the excitement lies in witnessing how effectively the movie captures these settings. The portrayal of the Emerald City is stunning and compact – while this might seem like a minor compliment, considering the grandeur of “Wicked,” it’s refreshing to see some control over the visuals here.
Despite the song not being a favorite for many, Erivo and Grande deliver outstanding performances (a common theme), and we’re treated to an enlarged version of “Wizomania” with original Broadway stars Idina Menzel and Kristin Chenoweth. It’s truly delightful to see them, isn’t it? Admittedly, their immediate slip into the Elphaba and Glinda roles can be a bit distracting, but maintaining a light-hearted approach is crucial for “Wicked”, and this production certainly achieves that.
5.
“The Wizard and I”
In a hypothetical list ranking the best songs from the Wicked musical, “The Wizard and I” would be close to the top. Despite not being at the very pinnacle in the movie, it remains a powerful performance by Erivo. She skillfully delivers the line about Elphaba’s father not being proud without sounding awkward, which is often challenging for actresses playing Elphaba who aren’t Lindsay Mendez. Although Michelle Yeoh’s brief singing at the start of the song isn’t impressive, it’s soon overshadowed by Elphaba’s captivating performance as she navigates the realistic Shiz sets.
As she dashes towards the cliff edge, the scene becomes a bit unsteady, with the CGI landscapes and disorienting lighting seeming less realistic. The portrayal of Elphaba experiencing “a vision akin to a prophecy” could be toned down, as it feels overly literal. After watching “No One Mourns the Wicked,” we can infer some things on our own without needing that specific detail. Erivo delivers a strong performance throughout, excelling more in expressing longing than musical comedy.
4.
“What Is This Feeling?”
In the movie “What Is This Feeling?”, the dual-screen display was the moment I truly believed Chu would successfully carry out this production. This visual technique has a unique cinematic quality, something unattainable on stage, instantly propelling this scene to the highest echelons. Moreover, it subtly accentuates the lesbian undertones, though if “What Is This Feeling?” isn’t already recognized as a love song in your mind (channeling Sarah Paulson from Carol), I’m afraid I can’t help you appreciate that aspect.
It really can’t be overemphasized how good Erivo and Grande sound together, so forgive me for bringing it up again. As Elphaba and Galinda move through a number of scenes and Shiz sets — more credit to the stellar production design — the actors’ harmonizing keeps the number grounded. It’s a magic trick.
3.
“Popular”
Without a doubt, Grande stands out as the standout performer in “Wicked” even before the character “Popular.” She skillfully portrays a Galinda who respectfully honors previous Galindas without appearing too imitative. It’s evident that Grande, being an ardent fan of the show, has a deep understanding of its essence while still aiming to make her own impact. Consequently, it comes as no surprise that she excels in “Popular,” offering a healthy dose of natural humor and impressive vocal improvisations that never feel overly flamboyant.
Once more, Chu skillfully incorporates cinematic scenes that wouldn’t translate well to the stage during the makeover montage. For instance, when Galinda mimics Esther Williams (though without the pool) on the dorm room floor, the camera is positioned overhead. Many subtle instances could be highlighted, such as Grande adopting Evita’s arm poses during “especially great communicators.” As the stage is bathed in pink light and she performs for the third time, it becomes apparent that you are witnessing a scene destined to become a memorable musical number in a future film.
2.
“Defying Gravity”
Gravity-defying spectacle” is indisputable. It’s a scene-stealing number so captivating that they opted to split the musical Wicked into two films (although whether or not this was necessary can be discussed elsewhere). Since it’s the most powerful sequence in the play, and because Erivo and Grande deliver such remarkable performances – I should mention their harmonies are exceptional – it was always destined to rank high on this list.
Regarding “Defying Gravity,” there are several factors that prevent it from claiming the top spot. The most significant flaw lies in the abundance of action packed into its climax, specifically during the end of the song. Instead of flying as expected, Elphaba experiences a prolonged fall and encounters her younger self before managing to grab her broomstick. This is followed by a series of aerial stunts where she avoids the flying monkeys. Consequently, the “so if you care to find me” verse gets postponed, and the final lines along with the famous battle cry are delayed even more. Essentially, it feels like watching a music video interspersed with dialogue scenes instead of just listening to the song. I yearn for the music!
However, take note. This performance is titled “Defying Gravity.” It’s bound to make you tear up, it will move you deeply, and the sight of Elphaba in her Wicked Witch of the West attire may even catch your breath. Although I believe the film could have allowed the song to reach its full potential — a battle cry followed by a dramatic cut to black would have been ideal, not more Elphaba flying — it’s still an outstanding number that makes the adaptation of the musical to the big screen worthwhile.
1.
“Dancing Through Life”
It could be that I’m captivated by Jonathan Bailey’s allure, or it might be that I’ve been feeling rather thoughtless lately. However, the musical number “Dancing Through Life” in Wicked is what truly stands out for me. With its complex choreography and a moving library backdrop, this lengthy sequence transforms into something truly magical. Bailey undoubtedly contributes significantly to the song’s appeal; his powerful vocals and the captivating character of Fiyero make the movie even more engaging.
Is it that you’re not fond of the new arrangement for the song? Quite the contrary! Despite your feelings, Bailey manages to pull it off effectively, with some truly remarkable choreography and more visually captivating backdrops. The library and underwater Ozdust Ballroom, adorned by an Animal band (the Sugar Glider on drums), are among these eye-catching sets. It’s not just Fiyero singing; “Dancing Through Life” also provides a shining moment for Marissa Bode and Ethan Slater. The latter delivers a strong performance, particularly in the ultimate confrontation with Stephen Schwartz through his lyrics: “Nessa, I’ve got something to confess, a …
The musical “Wicked” spans a lengthy two hours and 40 minutes, surprisingly long considering it’s only half of the story. The number “Dancing Through Life” seems extended, dramatically building up Elphaba’s entrance to the Ozdust Ballroom and her unconventional dance upon arrival. However, the decision to stretch things out proves beneficial when Galinda joins her in a poignant scene, one of the film’s most touching moments. From beginning to end, this sequence serves as a heartening testament to the musical’s potency — a flawless demonstration of how skillfully this cast and crew have brought that power to life on screen.
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2024-11-21 23:55