‘Wicked’ Review: Cynthia Erivo and Ariana Grande Give Iconic Turns in the Year’s Must-See Musical

As someone who has grown up with the magic of musical theater and the timeless tales of Oz, I must say that “Wicked: Part I” is a delightful and immersive cinematic experience. The film masterfully blends the nostalgia of classic cinema with the intricacies of modern digital storytelling, creating a visually stunning spectacle that brings the beloved stage musical to life in a way that feels fresh yet familiar.

In the magical world of “Wicked”, I found myself questioning who truly wielded the wicked wand: Was it the green-skinned enchanter with a heart full of sorrow, or her seemingly benevolent counterpart, Glinda? This cinematic take on Gregory Maguire’s novel challenges our perceptions and offers a fresh perspective on a classic tale. In the era post a tumultuous presidential election, “Wicked” serves as a powerful reminder about the dangers of division, fascism, and fearing those who are different from us – a timeless critique that resonates deeply today.

Upon its debut on Broadway in 2003, EbMaster’s skeptical theater critic labeled composer Stephen Schwartz’s reinterpretation of the famous villain in “Wicked” as “strenuous,” “lumbering,” and “overloaded.” These harsh critiques might have seemed appropriate compared to the more personal musicals that preceded it. However, they overlooked the immense ambition driving such a cultural sensation, an ambition that would later pave the way for a cinematic adaptation equally visionary and visually stunning – as breathtakingly colorful as Dorothy’s 1939 journey over the rainbow.

As a devoted fan, I can’t help but share my awe at the breathtaking spectacle that unfolded during the closing moments of the initial act, when Idina Menzel’s Elphaba soared with her powerful rendition of “Defying Gravity” in the Broadway production. The sheer magic of such moments is amplified on screen, as evidenced by the enchanting first 160 minutes of this two-part adaptation. It leaves you spellbound and eagerly anticipating the continuation after a yearlong intermission.

2003 marked the year when “The Lord of the Rings” concluded its run in cinemas, and it served as an inspiration for Jon M. Chu’s grand, CGI-enhanced spectacle “Wicked”. As further developed by the show’s original writer, Winnie Holzman (with credit also given to Dana Fox from “Cruella”), this film maintains a lavish, almost overwhelming quality, mirroring Chu’s embrace of the extravagant style popular in contemporary live-action Disney adaptations like “Beauty and the Beast” and “The Little Mermaid”. In essence, it’s a grand cinematic feast, adorned with festive sparklers and garlands.

Rather than appearing overly full or bulky, “Wicked” has achieved its optimal shape, filling each scene with intricate details that, in less skilled hands, might have been overwhelming. Cynthia Erivo, portraying the enchantress with the greenish complexion, effortlessly hits the required notes. However, it’s her close-up performances that truly set this rendition apart from Menzel’s. While Menzel was celebrated for her grand performance, winning a Tony Award for her big delivery, Erivo’s more nuanced approach invites viewers to delve deeper into the character’s (green-tinted) emotions.

Simultaneously achieving her heart’s desire, Ariana Grande assumes the role previously held by Kristin Chenoweth as Glinda. She skillfully emulates Chenoweth’s vocal style on Broadway, yet her screen presence is somewhat more rigid. Grande captures the Little Miss Perfect aspect of Glinda’s character admirably with her long blonde hair and delicate facial features, but falls short of matching her idol’s quick wit in comedy. Nevertheless, she portrays a cold-hearted, oblivious mean girl convincingly, flipping her hair for attention and basking in the adoration of her peers at Shiz University (Bowen Yang and Bronwynn James among them), batting her eyelashes blankly whenever her tactics prove unsuccessful in charming others.

The film initiates with scenes that could never be created naturally, moving past Elphaba’s hat (which suggests only one thing) before soaring through an open window, chasing a computer-generated swarm of monkey-winged creatures over artificial poppy fields, up digital waterfalls and along a computer-generated yellow brick road towards a distant CG Emerald City. Nothing in this sequence appears even slightly real – while virtual light reflections and sunset lighting seem excessive – yet it allows Director Chu to express his whimsy freely with what follows.

Essentially, the director of “In the Heights” brings audiences deep into a world where their minds played a significant role on stage. The story begins with a grand, countrywide celebration following Elphaba’s passing, and then delves into the intricate details of Elphaba’s past. As they soar towards Munchkinland in a fragile pink bubble, Glinda reminisces about their shared past as college roommates at Shiz, an esteemed institution where Madame Morrible, portrayed by Michelle Yeoh, chooses Elphaba – who is already an outcast due to her unique skin color and her sister’s wheelchair dependence (Marissa Bode) – as her next protege.

Glinda had aspired to gain that honor, as Morrible’s gifted students were typically chosen to counsel the enigmatic Wizard (portrayed by Jeff Goldblum, perfectly capturing eccentricity). Toward the end of Part I, he calls upon Elphaba. While most here admire Oz’s “magical” leader/impostor, Elphaba dissents against his oppressive measures towards the land’s talking animal populace. Instead of anthropomorphizing them, Chu presents them as their true species, which might have been a more endearing choice.

In today’s political landscape, these fantastical elements carry a heavy significance, highlighting the adaptability of the movie’s main symbolism. The warning “You’re not getting the full story!” from Professor Dr. Dillamond (a digitally created goat character resembling Peter Dinklage) before his arrest by Oz authorities serves as a fitting motto for “Wicked”. This musical intends to correct misconceptions about Elphaba’s motivations, especially in earlier portrayals of Oz found in L. Frank Baum’s original novels.

In its initial release, “Wicked: Part I” leaves out some crucial aspects, such as the reason behind Elphaba’s green skin and her vulnerability to water, but it manages to tell a compelling story on its own more effectively than many multi-part series often do. The trend of breaking movies into episodes is a source of frustration, as is the lengthening of running times, but these strategies enable stories like “Wicked” to explore characters and plotlines in greater depth compared to standalone films from the past.

The topic of anthropomorphic creatures, symbolizing the treatment of Jews during the Third Reich (or the mass migration issues of today) will be addressed later, in Part II. Here, we are introduced to Fiyero, portrayed by Jonathan Bailey, who serves as a pivotal love interest but often feels sidelined amidst the complex romantic dynamics between Elphaba and Glinda throughout the movie.

The confident opening tune, “Dancing Through Life,” by the character, stands out as a remarkable adaptation, showcasing Chu’s skill in reinventing classic stage performances for cinema. In the library setting, the intricately designed dance sequence is filled with energy, featuring Fiyero jumping on books and spinning around revolving shelves. Here, Glinda flirts shamelessly while Elphaba appears to be indifferent towards him.

In Part I, ‘Popular’, one of Glinda’s signature songs, is included. This segment is particularly notable as it benefits greatly from Chu’s cinematic approach, using strategic close-ups to convey emotional depths that might go unnoticed during live performances. The scene in question shows Elphaba, tricked into wearing a pointed black hat to her first party, starting to dance alone, only to be met with scorn from her peers.

In the original scene, audiences on Broadway found it amusing, but here, it’s more like a poignant, almost unbearable moment as Chu skillfully alternates between Elphaba’s innocent actions and the barely masked embarrassment on her face. The first instance where Glinda enters is when we see a glimmer of kindness from her character – a precursor to the transformative journey that this leading lady will undergo, hinting at her eventual redemption.

The gap between the typical 15-minute intermission and the lengthy break spanning almost an entire year that divides the two halves of “Wicked” in theaters is quite substantial. It’s worth noting that the movie concludes not on a cliffhanger, but with Elphaba realizing her full potential, similar to how “Dune: Part One” ends. Since “Wicked” functions as a prequel to Victor Fleming’s 1939 film, there is some mythology to be set up initially, with more to follow in the future.

During different periods, various movie studios visited Oz, with specific elements like the ruby slippers owned by MGM (now Warner Bros.). However, Chu initiates his film with the Universal logo from that era and designs it to resemble the font of the previous film. To maintain consistency, production designer Nathan Crowley gives the Emerald City a captivating art deco style, while Shiz University exhibits an Eastern aesthetic, drawing inspiration from organic influences.

As a movie critic, I find myself captivated by Paul Tazewell’s extraordinary costumes, seamlessly integrating elements from various eras and cultures that beautifully complement Chu’s distinctive aesthetic. Indeed, the filmmaker strives for an antique feel in certain scenes, yet the intricate digital detailing gives this production a fresh, unprecedented quality. This is particularly evident when considering the unparalleled resolution offered by ultra-sharp digital theatrical projection and 4K home formats – elements that make this cinematic experience something truly special for today’s audiences.

The place Dorothy was striving to reach all along is obviously home, even though Chu intended “Wicked” to be enjoyed in a more traditional manner: on the largest screen available, surrounded by an excited audience (who often find themselves singing along during certain showings). Unlike some contemporary musicals that have attempted to conceal their musical aspect from viewers, “Wicked” proudly upholds its identity, much like Elphaba does her green skin. Interestingly, this self-assurance significantly impacts the way it’s received.

2024-11-19 23:23

‘Wicked’ Review: Cynthia Erivo and Ariana Grande Give Iconic Turns in the Year’s Must-See Musical

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