“I’m who I am today because I knew you.”
The release of Wicked: For Good, the eagerly-awaited conclusion of last year’s mega-spectacle Wicked, has got me waxing major nostalgia for the big movie event and the fact that it’s now back. For so long, there weren’t too many of those kinds of events that didn’t come from the comic book world. But the energy of waiting what seemed like forever for a cinematic event that you and others like you could share in feelings of wonder, surprise, and exhilaration started to feel like a thing of the past. Even though I’m not necessarily a Wicked fan (I only saw the stage musical once in London in the late 00s), the simple fact that I was going to such an event made me excited to experience it. The event was exactly the kind of communal experience I was hoping for, even if it didn’t exactly erase the movie’s flaws.
Wicked: For Good continues the story of Elphaba (Cynthia Erivo), whose crusade for the rights of animals has gotten her labeled as a wicked witch, while her best friend Glinda (Ariana Grande) finds herself poised for greatness by the hidden agendas of Madame Morrible (Michelle Yeoh) and the Wizard of Oz (Jeff Goldblum). With the dashing Fiyero (Jonathan Bailey) by their side, they aim to take down the dark forces within Oz and expose the truth about the wizard.
Despite being directed by the returning Jon M. Chu, Wicked: For Good is just not as fun as the first installment. It’s difficult to say why, exactly, but a change in the movie’s momentum is hard to ignore, while the overall energy seems oddly low in the first half, which consists of catching up with characters, methodical pacing, and a collection of songs that just don’t pop the way the previous ones did. In fact, nothing pops the way it did the first time around. Not helping matters is the way new elements are introduced, namely Dorothy’s appearance in Oz, which feels inexplicably wrong. To be fair, many Wicked fans I had talked to felt the same way about the stage show itself, with many feeling that the first half was stronger as well. I should point out that despite the lackluster feel, nothing on the screen is particularly bad. But when your first act ends with the powerhouse stylings of something like “Defying Gravity,” there’s unfortunately very little room to go from there.
What a relief it was when the movie actually started to amp up, regaining some of the flair and exuberance that was the hallmark of the first movie. A number of elements contribute to this sudden turn, with the biggest being the look of the film, which is all the more glorious and wonder-filled with its massive sets, rich colors, and expertly shot sequences. Two showstopping character introductions, that of the Tin Man and the Scarecrow, also make audiences sit up in their seats. The same goes for the crucial moment when Elphaba meets her fate. It’s that moment in particular that feels especially powerful because of the relationship between her and Glinda. Even though they’re largely kept apart for the first half, the bond between the two unlikely friends feels even stronger than before. Their scenes together illustrate this beautifully. “You’re the only friend I ever had,” remarks Elphaba. “And I’ve had so many friends,” replies Glinda. “But only one that mattered,” she adds. It’s their relationship that emerges as the movie’s actual love story, and the true heart of Wicked.
Most of the performances this time around haven’t missed a beat, and not just because the two films were shot back-to-back. Erivo and Grande both continue to prove they were the only ones who could bring Elphaba and Glinda to the screen. The two manage to bring out their various character traits with ease and symbolize their unique strengths as well. Bailey continues to be as charming as can be, while Yeoh is imperiously queeny in the best of ways. Only Goldblum feels out of sorts here. Maybe it’s because his part is expanded this time around that the cracks in his take on the character start to show. If only the producers had given Kevin Kline a call.
Chu’s ability to bring any world to life, regardless of subject matter, is what makes him a remarkable filmmaker. If it was something that was apparent the first time, it’s even more obvious now. From the Washington Heights landscape of In the Heights, to the familial dynamics of Crazy Rich Asians, to the land of Oz, Chu is an immensely curious and empathetic filmmaker. I listened to a podcast recently where a critic commented that the truly good directors aren’t necessarily the major name ones with identifiable stamps, but rather those who are able to submerge themselves into different eras and social experiences, favoring the authenticity of the world being brought to life, and the people within it above all else. As far as Chu goes, I can’t wait to see what the next world will be.
