Wicked: For Good, 2025.
Directed by Jon M. Chu.
Starring Cynthia Erivo, Ariana Grande, Jonathan Bailey, Michelle Yeoh, Jeff Goldblum, Ethan Slater, Marissa Bode, Bowen Yang, Bronwyn James, Sharon D. Clarke, Colman Domingo, Peter Dinklage, Adam James, Scarlett Spears, Kerry Ellis, Alice Fearn, and Keala Settle.
SYNOPSIS:
Elphaba, the future Wicked Witch of the West and her relationship with Glinda, the Good Witch of the North. The second of a two-part feature film adaptation of the Broadway musical.
If one had to battle an excessively extended setup in the otherwise spectacular and dazzling first part of Wicked, the similarly joyous second chapter of director Jon M. Chu’s adaptation of the Broadway musical, Wicked: For Good, comes with its own fair share of flaws, this time more invasive than an elongated running time providing depth to characterization. Clocking in at roughly 20 minutes shorter than its predecessor, there are aspects here that feel off, mainly with the inevitable conclusion of The Wizard of Oz narrative within the ongoing exploration of friendship and fallout between Elphaba, the Wicked Witch of the West (Cynthia Erivo) in the making, and Glinda, the Good Witch of the North (Ariana Grande).
There is no replacing Judy Garland, and there should be no tampering with that classic film’s legacy (side-eye to be insulting AI-altered desecration going on at the Sphere in Las Vegas, although that’s a conversation for another time), so one understands keeping that story in the background through a wordless Dorothy performance and pop-ups that feel like cameos more than anything. There is also the concern that pushing it further could be even more of a fan-service distraction, detracting from the story being told between Elphaba and Glinda. With that said, Jon M. Chu (working from a screenplay by Winnie Holzman and Dana Fox, presumably faithfully adapting the former’s stage play, and bringing in music by John Powell and Stephen Schwartz) is stuck between a rock and a hard place. Perhaps this just works on stage as a musical, but as a film, while once again vividly colorful and angelically performed with a moving core story, its The Wizard of Oz ties simply feel rushed and clunky.
That’s without getting into some of the more ugly visual effects for beloved characters such as Tin Man and Scarecrow, touched up with an overabundance of CGI that, more than anything, serves as a reminder that less is more, and that the costumes from the 1939 original were more than suitable in this department. Meanwhile, the Cowardly Lion comes away unscathed here, not only resembling a real lion but also coming with highly detailed, well, cowardly facial expressions across his every move and line of dialogue (which, again, isn’t much).
As for the rest of the effects, whether it be winged CGI spy monkeys forced into doing the Wizard’s (Jeff Goldblum) bidding or the several elaborate costume designs (specifically, Glinda’s assortment of pink dresses), or look at the in-construction Yellow Brick Road, the no doubt gargantuan budget was well spent. This is the film where color pops across every inch of a frame, with the numerous costumes and buildings brimming with multiple shades. The often-clashing colors make for a splashy, aesthetically delightful look once again.
Unquestionably, those elements are doing some heavy lifting on a story that struggles whenever it’s time to connect to The Wizard of Oz. There are already quibbles to be had with the characterization of Elphaba’s paraplegic sister, Nessarose (Marissa Bode), who is now a governor and apparently also on a path of wickedness (on that note, if one takes a shot every time someone says “good” or “wicked”, they will be passed out within the first hour) for reasons that, while laid out, also feel a bit forced onto the character. There isn’t much room for organic transformation, as the film mainly uses a single big scene for each key character. The point is that it doesn’t always click, and the writing’s portrayal of Nessarose feels like a failure for people with disabilities and is wonkily executed.
Fortunately, when the narrative focuses on Elphaba and Glinda, it is markedly more focused, engaging, and emotional, even if it’s slightly annoying that key aspects of their respective arcs come down to fighting over Fierro (Jonathan Bailey). What remains most fascinating is the idea of Oz as a stand-in for America, the supposed land of opportunity, and the Wizard as a Trumpian figure who not only lies incessantly, but at one point notes the uncomfortable reality that even if he did reveal his deceptive nature, it wouldn’t matter because once people buy into an idea of someone or something, that hold has almost no chance of being broken. It’s an observation that rings disappointingly and bleakly true, given the current week America is having as I write this review.
There is even a song (of which there are many wonderfully sung and sonically heavenly) beginning with lyrics clearly painting Oz as a metaphor for America, especially considering the ongoing corrupt oppression of those who are different. And while it’s true that none of the numbers here compares to Defying Gravity, the musical sequences are once again staged, complete with the occasional aerial or wide-shot perspective from cinematographer Alice Brooks to capture as much of the movement and painstakingly crafted sets as possible.
Cynthia Erivo and Ariana Grande are also superb again, although this chapter feels more concerned with Glinda as someone stuck between having the adoration, popularity, and status she has always craved from the common folk while also trying to do right by Elphaba, who is proceeding against the Wizard and his evil deeds while reckoning with her mistakes and place in such circumstances. Wicked: For Good descends from gravity back down to earth, but is still a joyously moving enough, if flawed, finale.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder
