Defying Gravity in the Box Office or just “holding space”?

Staff Writer Angelica Ng reviews the latest adaptation of the beloved classic, Wicked (2024), directed by Jon M. Chu, starring Ariana Grande and Cynthia Ervio.

Wicked (2024) is an extraordinarily ambitious film. Spawning viral memes, scandals, and intense marketing, treading the yellow brick road to this highly-anticipated release hasn’t been easy. After all, Jon M. Chu has tasked himself with adapting a beloved story for modern audiences while honouring the source material, as well as delivering spellbinding visuals to match. Yet, the efforts of this huge production have clearly paid off. Wicked has now become one of the highest grossing musical movies of all time, bolstered by its star-studded cast, relatable characters, and a timeless story known to almost every generation. For the uninitiated, Wicked serves as a prequel to The Wizard of Oz (1939). It tells the story of Elphaba and Glinda, two witches who become friends despite their vastly different personalities. This tale of good triumphing over evil is a classic one, yet Chu breathes new life into the familiar fairytale, for an empowering film that’s a feast for the senses.

Cynthia Erivo presents a beautifully powerful interpretation of Elphaba, adding new depth to a familiar character. Erivo’s consistently solid performance showcases her understanding of Elphaba’s unique nature, while her crystal-clear vocals are a treat for the ears, building up to an incredibly moving rendition of “Defying Gravity”. Meanwhile, Ariana Grande’s Glinda is thoroughly amusing as the antithesis of Elphaba’s character. Despite Glinda’s spoiled and often immature nature, Grande brings such pure sincerity to the role that her performance remains immensely enjoyable. While she is perhaps weaker in portraying Glinda’s deeper emotions and complexity, Grande’s flawless comedic timing and natural charm make Glinda one of the most entertaining characters in the film. Additionally, her operatic vocals are a world away from her Grammy-winning pop albums, balancing lighthearted numbers with technically challenging soprano trills.

At times, the development of Glinda and Elphaba’s complex friendship does comes across as lacking genuine growth. While there are numerous tender moments of connection, the pair seem to be suddenly elevated to “best friends” in the blink of an eye. Still, Erivo and Grande’s effortless chemistry, paired with their stunning vocal blend, often help to smooth over storytelling flaws. The film is also boosted by a fun script that makes it unexpectedly hilarious. From Glinda’s over-the-top hair tosses to Elphaba’s deadpan line delivery, the cast takes full advantage of each opportunity to play off each other’s performances, showcasing brilliant chemistry in each improvised line and reaction.

In a film filled with fascinating side characters, numerous big names in the ensemble cast receive opportunities to stand out, albeit to varying degrees of success. Michelle Yeoh’s Madame Morrible is surprisingly stiff and out of place in this fantasy world, despite the Academy Award-winning actress’s years of experience. While her regal presence is undeniable, she seems more like she’s playing herself in an elaborate wig and high-collared gown, instead of immersing herself in her role as a powerful sorceress. In contrast, Jonathan Bailey as Fiyero is a clear standout in the film, throwing himself wholeheartedly into the stereotypical Prince Charming role with airheaded charm and effortless charisma. He adds just the right amount of “theatre kid” drama, with energetic dance moves and a catchy solo number that make him magnetic onscreen.

While it’s often challenging to take a musical from stage to screen, the pacing of Wicked’s storytelling occasionally feels poorly managed. Many of the characters feel stagnant throughout the film despite its nearly three-hour runtime, creating the sense that despite the film’s visual extravaganza, nothing significant is actually happening. This is only Part One of a duology, situating each character early in their respective arcs. Still, the separation of Chu’s two films makes it difficult to fully connect with the story. Wicked’s emotional pay-off only turns up towards the end when we enter the Emerald City. By now, it has been nearly two hours of drawn-out backstories and mindlessly fun musical numbers. When the stakes are eventually raised, the film finally begins to build momentum. Many of the film’s emotional elements start to truly take shape, and it feels as though one is watching something more impactful than just drama between frenemies. However, the film then ends immediately afterwards. Only in a year from now, will we see how the story has unfolded.

The wonder of a musical movie is its ability to cohesively construct a fantastical world of music, choreography, and acting, along with generous sprinkles of special effects only achievable on screen. Personally, I find that Wicked surpasses the stage musical in its own ways. Musical numbers are scaled up with massive ensembles in gigantic sets, executing lively choreography in perfect tandem. Beautifully detailed CGI and adventurous camera angles help scenes feel that much more magical, sending viewers soaring through the wondrous world of Oz. While the film does not stand solely on the shoulders of filmic special effects, watching Wicked in a black box certainly immerses one further into the film’s fantasy.

In fact, the film’s visual design is one of its key highlights. Each meticulously crafted set and costume contribute to creating the film’s dreaminess, as though the pages of a fairytale book have come to life right in front of your eyes. It’s unfortunate that the colour grading and lighting of the film often leave much to be desired. Compared to the vibrant Technicolour of the 1939 film, Wicked sometimes feels foggy and sterilised. Many scenes are underlit, failing to do justice to the beauty of the set and costumes. Still, Wicked’s commitment to its fantasy setting shines through in its creative details. From steampunk-esque machinery and magical flowers, right down to whimsical new vocabulary, the film truly brings Dorothy’s iconic quote in The Wizard of Oz to life – “I've a feeling we're not in Kansas anymore.”

In translating such a beloved musical to film format, Wicked is inevitably altered. Yet, perhaps this change is for good. It comes close to capturing the adrenaline of a live musical, elevating the experience with the magic of film. It remains a deeply moving story of empowerment and remaining true to yourself. Nearly a hundred years after The Wizard of Oz’s premiere, Wicked preserves Oz’s widespread appeal and introduces the classic tale to a new generation of audiences, with a story that’s truly for the ages.