The movie musical is back in a big way with the long-simmering adaptation of Wicked thanks to director Jon M. Chu and the undeniable chemistry of its leads. Since its premiere on Broadway, Hollywood has tied itself in knots trying to figure out exactly how to film its version of Gregory Maguire’s novel, and while it may not be perfect, Chu’s vision does right by the material – a more difficult feat to accomplish than expected. Yes, technically, Wicked is only half of the story (part two is currently scheduled to be released in one year), but it’s one of the breeziest, most enjoyable moviegoing experiences of the year.

Chu has already proven himself adept at Broadway adaptations with his last film, In the Heights, and he brings a similar sense of visual splendor to the land of Oz. Wicked is a film that plays into the magical possibilities and wondrous world-building from its predecessors, taking full advantage of all 360 degrees available. Of course, it helps when your co-leads are Tony and Grammy-winners Cynthia Erivo and Ariana Grande, who can not only belt out show stoppers like “What is This Feeling?” and, yes, “Defying Gravity”, but can plumb the emotional depths of their characters.

Erivo stars as Elphaba, the future Wicked Witch of the West, who spends most of the film finding her place in the world and accepting herself. Screenwriter Winnie Holzman, who also wrote the stage musical with Stephen Schwartz, portrays Elphaba as an arrogant know-it-all who will never outwardly admit that she craves acceptance. She’s perpetually guilted not just for being noticeably green, but for not being as perfect as her sister Nessarose (Marissa Bode).

But it’s Ariana Grande as Galinda, AKA Glinda the Good Witch, who steals the film from the opening minutes. Just like Kristen Chenoweth on Broadway, Grande makes every line reading and bit of physicality that’s not on the page into a theatrical production, an intrinsic part of her character’s vanity and ditziness. Separately, Grande and Erivo are magnetic, but together, they’re undeniable. 

Chu deserves credit not just for filming the musical sequences in inventive ways, but for keeping Wicked light on its feet. Much has been made of the film’s runtime being longer than the Broadway show for only half of the story, but it’s rare for a 2 hour 40 minute film to fly by so breezily. A good deal of the extended runtime comes as the characters are expanded and their relationships deepened beyond the stage, particularly once Fiyero (Jonathan Bailey), the brain dead hunk who catches the eyes of Glinda, appears. Elphaba knows she has magical abilities, but it takes headmistress Madame Morrible (Michelle Yeoh) to understand them. But she discovers a deeper passion for the plight of Dr. Dillamond (voiced by Peter Dinklage), a Goat who suffers under the Wizard of Oz’s (Jeff Goldblum) Animal silencing laws.

Strange as it may sound, Wicked feels thematically relevant to today’s climate – especially after the election. Elphaba represents the downtrodden, but morally righteous as she fights for the rights of the “othered” against faceless oppression. Of course, the great tragedy of the story, and Maguire’s work, is that we already know Elphaba’s fate: not only is she shunned and made a scapegoat by the Wizard, but she’s ultimately killed for her beliefs. Wicked understands this, and makes Elphaba a heroine worth rooting for.

Most of the film takes place within the grounds of Shiz University, so we’re left to wonder about the rest of Oz, which Maguire had rendered in such specific, mythological detail. But Nathan Crowley’s production design is constantly surprising whenever a new area unfolds. Picture the gothic architecture of the Harry Potter films mixed with the candy-coated spectacle of Wonka – plus a few winks and nods to the original The Wizard of Oz, of course. The “Dancing Through Life” sequence is so dynamically choreographed and fun to watch, even with its occasionally lackluster cinematography/color grading. 

Not all Broadway adaptations work, in spite of the expanded scope and technical proficiencies. Thankfully Wicked sticks to the heart of the story without adding in unnecessary storylines. (Though there is a groan-worthy moment of lore exposition late in the film that feels like a meddling studio note.) 2024 has already seen a number of original musicals, including Emilia Perez and The End, but Chu’s film is a welcome reminder of how crowd-pleasing it can be when a musical adaptation is done right.

Wicked will be released in theaters nationwide on November 22.

OSCAR POTENTIAL:

• I’m not the first to compare Wicked to last year’s Barbie in terms of its box office appeal. I won’t be surprised if it replicates that film’s Oscar haul as well. Best Picture is within reach, especially if the film makes as much money as experts anticipate.
• I worry if, like Margot Robbie in Barbie, Cynthia Erivo will be left out in the Lead Actress field.
• I actually see Ariana Grande’s path to Oscar as similar to Ariana DeBose from West Side Story. Much like Maria, Glinda is a role that’s tailor-made to a big performance, and Grande nails it. If she starts out with a Golden Globe win, expect more dominos to fall in her favor.
• I can see Wicked as the current front-runner in a number of technical categories, including production design, costumes, and hair & make-up. If it makes the cinematography field (one of its weaker craft elements), it’s a sure sign of its front-runner status.