FILM REVIEW: Wicked: For Good

The Movie in the Bubble

Ahhhh, Act 2 of Wicked. If you are a fan of the Broadway musical, we are treading familiar territory. Act 1 is hit-after-hit and ends with one of, if not the best, Act 1 closer ever written. The pace literally has to slow down! Themes have to be discussed! It all gets pushed together in what many consider to be a very “rushed” tone. The biggest question for this second film from Jon M. Chu’s Wicked universe is: does it make an imperfect act better? The simple answer: yes. The more complicated answer: it is still not as incredible as that first Act. Also, like the musical, it is the writing. The pacing starts, slows, starts again, then finally gains its traction. Plot points that could be cleverly masked on stage are more glaring when you are able to provide literal Oz on a big screen.

Do not misinterpret me, I still loved it. Ariana Grande and Cynthia Erivo are still the perfect pair to bring these characters to life. There are also some really great decisions for characters such as Jeff Goldblum’s Wizard and Ethan Slater’s Boq. They are unfortunately surrounded by writing that pulls you out of the story, even for just a second. Luckily, the best decisions are saved for last. Once the film focuses on Friendship once again, it sticks a near-perfect landing. The emotion comes out because we love these characters and the actors who play them. It closes the Wicked era of movie-going in the best way it can. I think many young filmmakers will look back and realize this is a film that changed them….For Good.

We begin near the Opening Day of the Yellow Brick Road. Glinda has new responsibilities as a public figure for Oz, along with her beau Fiyero (Jonathan Bailey, another perfect casting choice). She works closely with Madame Morrible, the Wizard’s new Press Secretary (Michelle Yeoh, more on her later), on curating propaganda against Elphaba. As Glinda prepares for marriage with Fiyero, Elphaba also recognizes that the Animals of Oz are hiding away from what their future might hold. Elphaba will have none of it, so she confronts the Wizard once again. She is almost taken spellbound by his charm before discovering his truth, well, once again. Each character starts to realize what exactly is going on in the land of Oz, which is where the rest of the plot continues until the end. Also, a girl named Dorothy shows up. It is fun to not spoil any of that, so I will refrain.

Nathan Crowley’s production design, in concert with Set Decoration from Lee Sandales, and Art Direction from Ben Collins and Triin Valvas, once again shines. Paul Tazewell’s costume designs add incredible layers to the political undertones of the film. Jon M. Chu’s direction is slightly all over the place since there are not as many huge musical numbers to really show his skills. I still think that is because of the writing. Another shout-out goes to the editing team who bring to screen one of the best on-screen fights ever, cutting it like it is a John Wick film. You know what? HELL YEAH!

When you have not only a familiar story but an important American cultural one like The Wizard of Oz, playing around with it in another film cannot be just “clever”. Like any other film, you have to suspend the audience’s disbelief at just the right amount. The characters have to almost be completely different. When the Tin Man is revealed, he is angry. That works! Then he riles Ozians up in front of the Wizard’s palace with the Cowardly Lion. Where is the Scarecrow? Oh yeah, he has to have his moment later on in the film. On stage, it works because you can believe the Scarecrow is on the side of the proscenium. Here, it does not work. Other small moments like this add up enough to take me out of that suspension of disbelief. On the other hand, I felt even more immersed in the Wizard’s actions. When he tries to pull Elphaba back into his schemes, Goldblum provides exactly what that character needs. Sinister charm, while also having no idea what he is doing.

That job belongs to Madame Morrible. Michelle Yeoh continues her cold demeanor in her interpretation of Morrible. Some will find fault; I did not. Movies do not need every character to be melodramatic. When she changes the weather with quick hand movements, it is the subtlety that I find very effective. Unfortunately, she is given some bad dialogue, and her voice is just not strong (but good enough, in my opinion).

Everything goes back to what works best: friendship. In my Wicked (Part 1) review I say, “Why waste energy trying to nit-pick a film to death when what is being shown is this good?” This time around, it is not nit-picking when the issues are larger. However, the same can still be said for the talent on screen. When it is this good, it is hard to resist its spell on us all.