Wicked (or Wicked: Part 1 as revealed in the title screen) is the first half of an adaptation by Jon M. Chu of Broadway musical hit of the same name. The musical, written by Winnie Holzman with music and lyrics by Stephen Schwartz, is in turn a loose adaptation of Gregory Maguire’s revisionist novel Wicked: The Life and Times of the Wicked Witch of the West, based on the 1939 classic film The Wizard of Oz, itself adapted from L. Frank Baum’s novel. The list of credits goes on. With a long history of influences, this latest adaptation of the Oz world is splendidly brilliant, deep and increasingly relevant.

Adapting the first act of the musical, Wicked: Part 1 covers the transformation of Elphaba (Cynthia Erivo) into the Wicked Witch of the West. Long before Dorothy arrived in Oz, Galinda (Ariana Grande), who would go on to become the Good Witch of the North, enrols in the University of Shiz (think Hogwarts, but in Oz). Elphaba, who accompanies her sister for her enrolment, accidentally reveals her magical abilities and piques the interest of university dean Madame Morrible (Michelle Yeoh), who persuades Elphaba to stay and offers to tutor her personally.

Elphaba, born to an affair between her mother, the wife of Munchkinland’s mayor, and a travelling salesman, is green in complexion since birth and has been the subject of ridicule by peers, especially now at Shiz. Galinda, on the other hand, is a perky girl who constantly dresses in pink, and is no stranger to adoration by others. When the two are assigned as roommates, a rivalrous relationship begins, eventually blossoming into something unlikely and valuable.

To get this out of the way, I have neither read Gregory Maguire’s novel nor watched or listened to the musical. My only knowledge of Oz comes from the 1939 film, a film I love and admire for its heart, craft, and depth. Wicked, despite being only one half of the extended story, is immediately brilliant in its revisionist approach to the characters of the Wicked Witch and the Great Wizard of Oz.

Told from the perspectives of Elphaba and Galinda, the story reveals a different side of the witch and the land of Oz. Here, the witch is kind, misunderstood, and ostracised for reasons beyond her control. When Oz needs a common enemy, she becomes the scapegoat. Narratives are created, perspectives warped, and reality distorted - all as a means to manipulate and control the masses. In the 1939 film, the story of a man who arrived in a hot air balloon and was mistaken for a real Wizard is a metaphor for how people’s perceptions shape one’s self perceived worth. Here, it becomes a cautionary tale about manipulative leaders who fabricate stories and spread lies, exploiting people’s perceptions for their own benefit. Though written in the 90s, it is a story that is still relevant today, and increasingly more so.

At 160 minutes in length, the film does not feel as long. Musicals can often feel tedious when there are too many musical numbers, especially when they distract from the core narrative - the most recent example being Joker: Folie à Deux. With Wicked, however, the numbers are relevant, not to mention boisterous, moving, and catchy. In my opinion, the decision to keep all the songs from the musical has paid off well, as there was no way to squeeze both acts of the musical into one film without making compromises or unnecessary sacrifices. The result is a well-paced and emotionally rich film that juggles its minor characters as well as the major ones. This is a film that takes its time, letting scenes breathe and emotions simmer. In fact, this is the second time this year that I have teared up in the theatre (the other being for The Wild Robot).

The two leading performances are magical. And how well do they complement each other as a double act. Cynthia Erivo delivers an emotionally powerful portrayal of the resilient and strong-willed Elphaba, while Ariana Grande is brilliantly hilarious as the perky and sometimes self-entitled Galinda. The comedic timing is impeccable, and there are many laugh-out-loud moments. Jeff Goldblum pretty much plays himself as the Wizard of Oz, while Michelle Yeoh’s Madame Morrible is the perfect companion, delivering a stoic performance that can turn tender or terrifying in any instant. Jonathan Bailey is charming as the free-spirited and rebellious prince, though, unfortunately, his role is limited in the story so far.

Musical numbers are incredibly catchy and, when necessary, emotionally stirring. The powerful ballad ‘Defying Gravity’ is a true showstopper that captivates and moves - a defining point in the film, and a pivotal moment for Elphaba. ‘Dancing through Life’ is immensely enjoyable to watch. Like many other sequences, it is brilliantly choreographed – both in terms of dance and camera work – by choreographer Christopher Scott and cinematographer Alice Brooks.

I love the use of colour during these musical sequences, particularly in ‘The Wizard and I’, when Elphaba laments her skin colour and we see her bathed in a kaleidoscope of light through various tinted glasses. The mixture of pink and green is used to great effect to highlight the evolving relationship between Elphaba and Galinda, beginning with a disruptive shade of pink on Elphaba’s face as ‘What Is This Feeling?’ begins to play, and culminating in her leaping into the pink sky in defiance as they both belt out ‘Defying Gravity’.

Wicked is a spectacularly crafted film with a story that enriches and recontextualises another story we all know. Blending magical performances with lovely musical numbers, the film is heartfelt and serves as a true love letter to both the musical and L. Frank Baum’s legacy. I simply cannot wait for Part Two.

Author: Chia Jing Heng (andreusjh99)