Title: Wicked: Part One
Director: Jon M. Chu
Cast: Cynthia Erivo, Ariana Grande, Michelle Yeoh, Jeff Goldblum, Jonathan Bailey & Others
Where: In theatres near you
Rating: 3 Stars
This film arrives with the hefty promise of transitioning a Broadway behemoth into cinematic magic, wielding spectacle, song, and prequel intrigue in its arsenal. Director Jon M. Chu and his team seem determined to defy gravity and the inherent skepticism surrounding a two-part musical adaptation. The result is a film that soars occasionally but feels tethered to the limitations of its ambition.
Cynthia Erivo’s performance as Elphaba, the green-skinned witch grappling with ostracism and latent power, is the beating heart of the film. Her performance is a masterclass in emotional nuance, marrying defiance with vulnerability and ensuring her rendition of “Defying Gravity” sends chills down the spine. Ariana Grande-Butera’s Glinda, on the other hand, is an unexpected delight. Her transformation from a self-absorbed coquette to an empathetic ally is handled with wit and restraint, offering depth to a character that could easily have leaned into caricature.
The production design is a lush feast for the eyes, with Nathan Crowley conjuring an Oz that melds the whimsical aesthetics of the 1939 Wizard of Oz with modern technological flair. Jeff Goldblum’s Wizard, though underutilized, delivers a quirky charm that hints at the darker machinations at play. And yet, despite these strengths, the film struggles to balance its musical roots with cinematic demands. Chu’s penchant for hyper-stylized editing, while dazzling in moments, often detracts from the choreography and emotional beats, making scenes feel more chaotic than cohesive.
The narrative culled from both – Gregory Maguire’s novel and the stage production, leans heavily into setup territory, leaving audiences yearning for more plot propulsion. At 160 minutes, the pacing sags notably in the midsection, with much of the runtime devoted to establishing the Elphaba-Glinda dynamic and the socio-political undercurrents of Oz. The subplot involving the plight of Oz’s talking .mals hints at moral complexity but feels underdeveloped, a casualty of the film’s broader narrative ambitions.
When Wicked finally takes flight, particularly in its rousing climax, it’s hard not to feel exhilarated. The soaring finale, anchored by Erivo’s commanding vocals and Alice Brooks’ dynamic cinematography, nearly makes you forgive the preceding bloat. However, the decision to split the story into two films looms large over the experience. This first installment feels incomplete, like a prelude rather than a standalone tale. It teases a richer, more satisfying narrative to come, leaving viewers hovering in midair, much like Elphaba herself.
Ultimately, this film is a mixed spell. It enchants with its performances, visual splendour, and musical high points but falters in its structural choices and pacing. As a standalone piece, it struggles to justify its bifurcation, but as a promise of things to come, it holds undeniable allure. Whether the second half will stick the landing or crumble under the weight of expectations remains to be seen. Until then, we’re left somewhere over the rainbow, waiting for the storm to pass.
