Film Review #154: WICKED

WICKED: DEFYING THE MUSICAL GENRE

Movie musicals have existed since the dawn of sound in the film industry when film was still bound to the experiences of theatre shows. However, in the 21st century, the success of movie musicals, both original and adapted, have become a lot harder to predict. I’ve observed that the genre has seemingly divided itself into four broad categories: Trailblazing, highly revered musicals of the 2000s like Chicago (2002) and Moulin Rouge (2001); cult favourites that defy criticisms such as Mamma Mia! (2008) and The Greatest Showman (2017); and more recent box-office, awards-tier frontrunners such as Les Miserables (2012) and La La Land (2016). Lastly, there are the more experimental, but less successful films such as Cats (2019) and recently Joker 2: Folie à Deux (2024). With such an expansive range, varying degrees of success, and highly divisive opinions, movie musicals definitely aren’t what they used to be compared to the Golden Age. It appears that it’s a rarity for post-2000s cinema to achieve what Singing In The Rain (1952) had, and we might wonder if we will ever find modern-day equivalents of Fred Astaire and Ginger Rogers (Ryan Gosling and Emma Stone, perhaps?). 

But that’s not to say that musical movies are entirely forgotten. After La La Land’s success, there seems to be a growing interest in reviving this genre, with films hopping on the bandwagon, incorporating musical performance into stories in their own unique way. Even Steven Spielberg and Lin Manuel Miranda tried their hands at adapting movie musicals for the silver screen with West Side Story (2021) and Tick Tick Boom (2021) respectively. 2024 has also unexpectedly brought us more of these films like Cannes Grand Jury Prize winner Emilia Perez (2024), and Joshua Oppenheimer’s The End (2024).

In an era where musical movies (except Disney musicals) are on their road to recovering their significance in cinema’s hall of fame, Wicked deserves to join the leagues of Spielberg’s West Side Story, Chazelle’s La La Land, and Miranda’s Tick Tick Boom -- contemporary cinema that has aimed to resuscitate this genre. 

As a fan of the musical myself, I had complete trust in Jon M. Chu to bring the fantastical visions of Oz to the silver screen. From the Step Up franchise to Crazy Rich Asians and his most recent musical adaptation, In The Heights (2021), Jon M. Chu comes with a canon loaded with experience in directing scenes with energetic choreography and dance numbers. Wicked further proves that if there is anything Chu knows best, it's how to move the camera in the most effective ways to enliven choreography and capture the vibrance of movement and music on screen. Wicked comes packed with riveting dance scenes paired with the most iconic musical numbers of the Broadway show -- from ‘Popular’ and ‘The Wizard and I’ to ‘Dancing Through Life’, it almost emulates the same excitement one would have felt watching it live in a theatre. 

Being a film so closely associated with The Wizard of Oz (1939), most recognised for its vibrant and illuminating Technicolour, one would expect Wicked to evoke the same richness in colour. However, the film holds a more muted, subtle dazzle that does not replicate its predecessor. Yet, this is compensated with the elaborate practical set and costume design that immerses audiences deep into the colourful world of the yellow brick road and poppy fields of Oz, where Shiz University stands in its full grandeur. Fans can expect their eyes to dart across the screen, scouring the mise-en-scene for easter eggs and homages to previous iterations of the Wizard of Oz and the Wicked musical, making this film a delight for everyone. Alice Brooks, the cinematographer, who previously collaborated with Chu in In The Heights, creates scenes that bathe in the glow of emerald, gold and pink hues, imbuing every shot with elegance. 

However, the true success of Wicked comes from the stunning performances of its cast. Cynthia Erivo who plays the titular role of ‘Elphaba’, brings out the nuances of her character, and takes us on an emotional journey with Elphaba along with all her power and vulnerabilities. Ariana Grande as the bubbly and slightly self-absorbed ‘Glinda’, surprises audiences with her comic ability, capturing the essence of Glinda’s sparkling personality and penchant for dramatic flair -- a performance highly reminiscent of her earlier days on Nickelodeon. . Jonathan Bailey plays up Fiyero’s charm, while Jeff Goldblum accentuates the Wizard’s twisted and subtly manipulative yet affable character, and Michelle Yeoh commands the screen as Madame Morrible with versatility and power. Credit also needs to be given to Peter Dinklage, Ethan Slater, and Marissa Bode, whose brief appearances manage to convey tender, heartfelt emotions for all of their respective characters, allowing us to really appreciate these supporting characters. Even Bowen Yang and Brownwyn James bring a humorous touch to every scene they are in. Under the pressure of playing icons in the musical theatre world, and coming from a long line of competitors for their parts, Chu brings out the best of his cast, creating a dynamic so wonderfully playful and a synergy that is so captivating. 

As seen by the film’s press run, the only thing that screams louder than Elpheba’s battle cry at the end of ‘Defying Gravity’, is the cast’s passion for the musical. Erivo and Grande have been vocal about their early dreams of playing their characters, and this is evidently reflected in their performances that clearly demonstrate with panache. Wicked’s success seems to have revealed the formula to create musical movies in the modern day: Cast people with the performance skills of musical actors, people who love their roles, and trust Jon M. Chu to direct choreography-rich sequences. 

Named as one of the best movies of 2024 by the American Film Institute, Wicked is proof that there’s still room for movie musicals in the 21st Century, despite the unpredictability of its performance over the years. While life’s troubles desensitise us to traditional musicals’ romantic visions where problems are easily resolved through song and dance, musical movies help remind audiences of the very essence of cinema: a gateway to escape. Like Wicked’s whimsical and enchanting nature, musicals offer a slice of magic and possibilities, even when we feel that reality falls short of such ideals. 

As audiences continue to wait in anticipation of Part 2 of this film, it is safe to say that musical movies are getting revived or as we Gen-Zs like to say: 

We are so back. 

Image sources: IMDb

---------------------

About the author: A devoted fan of indie cinema and an avid music enthusiast, Mavis is a pop culture junkie with a keen interest in all aspects of contemporary culture. She especially loves female-forward narratives and passionately champions representation in film, continually educating herself on the importance of diverse storytelling. Whether sitting in a cinema or browsing through crates of vinyl, Mavis enjoys being immersed in tangible experiences that bring stories and music to life. 

This review is published as part of *SCAPE’s Film Critics Lab: A Writing Mentorship Programme, with support from Singapore Film Society.

Catch Wicked, now showing at Golden Village, Shaw Theatres, and The Projector!