‘WICKED’ Review: Ariana Grande and Cynthia Erivo Shine Bright In This Musical Masterpiece

Courtney Howard // Film Critic

WICKED

Rated PG, 2 hours and 40 minutes

Directed by: Jon M. Chu

Starring: Cynthia Erivo, Ariana Grande, Jonathan Bailey, Jeff Goldblum, Michelle Yeoh, Marissa Bode, Ethan Slater, Peter Dinklage

Despite what you might think, director Jon M. Chu’s WICKED isn’t solely a fluffy, colorful musical prequel to 1939’s THE WIZARD OF OZ. The auteur handles those homages with gorgeously evocative reverence, rest assured. And it’s absolutely enchanting, infectious and joyous. Yet he and his collaborators go above and beyond in their adaptation of the novel and the Broadway musical, galvanizing its timeless, timely, radical statements on political propaganda, abuses of power and the human dynamic being more than a simplistic good vs. evil binary. Imagination, innovation and immersive world-building collide in this love letter to Golden Age Hollywood heart and razzle dazzle. It’s a new contemporary classic.

The picture tells a resonant fairy tale about enemies who become friends, who are later forced – by circumstances beyond their control – to pick sides. In the beginning of their relationship, they were bright-eyed students at Shiz University in the land of Oz. It’s not long after their arrival where perpetually pink-clad, popular Galinda (Ariana Grande) and green outcast Elphaba (Cynthia Erivo) are assigned as roommates. Their rivalry intensifies when headmistress Madame Morrible (Michelle Yeoh) recognizes untapped power Elphaba holds and offers to privately tutor her with a chance at meeting the great and all-powerful Wizard of Oz (Jeff Goldblum). The arrival of handsome hunk Fiyero (Jonathan Bailey) also shakes things up a bit, as well as the brewing discontent in the land between humans and talking animals like their history professor Dr. Dillamond (voiced by Peter Dinklage).

Though this is part one of two, Chu, screenwriters Winnie Holzman (who adapted Gregory Maguire’s novel for the stage show) and Dana Fox have softened the edges to make it feel almost like a standalone. It concludes on the big number fans of the musical expect, but the finishing tonal notes translate to a satiating arc for the lead characters. John Powell’s score also weaves in sonic themes from the upcoming chapter that serve as a symphonic, symbolic building block for the duo’s friendship that’s about to be fractured.

Grande and Erivo are heroines for a new generation. Each brings a distinct depth and dimension to their uniquely fashioned characters, tapping into their spirit and illuminating hidden facets. Grande’s Galinda blends notes of Kristin Chenowith’s vocal stylings with the physicality and buoyancy of Carole Lombard. Erivo is a splendid standout. Her deeply nuanced performance serves to break your heart, piece it back together, and then break it again. The greatest special effects aren’t necessarily those that use CG. It’s her expressive, subtle reactions to the slings and arrows in which she suffers – the macro and micro-aggressions incurred due to the color of skin or uncontrolled magical powers. The hurt, pain and agony that weigh on her containing powerful amounts of potent poignancy and read crystal clear. From the Ozdust dancefloor scene where a compassionate gesture allows for tear-shed to the CGI-heavy showstopper “Defying Gravity,” each and every emotion feels earned. The raw honesty is fully realized, hitting us like a glorious gut punch.

In terms of supporting performances, Bailey’s absolutely dashing and magnetic, giving a star-making performance – a la Rupert Everett’s in MY BEST FRIEND’S WEDDING. He lights up the screen as the object of romantic affection in screwball-esque scenes shared with Grande as much as he does during the library set number leading “Dancing Through Life.” Goldblum, who enters into the picture late, is delightfully slippery as the Wizard. His jovial showman outer layer cloaks an insidiousness bubbling underneath.

Real environments are impressive, working in tangent with Alice Brooks’ cinematography to augment the awe-inducing factors. Whether it be the poppy fields or the art deco-inspired, chasm-like hallways in the Royal Palace. Paul Tazewell’s costume design in impeccable. He weaves in gobs of texture, reflecting the characters’ iconic, grounding forces into their garments’ fabrics. Galinda’s dresses emphasize bubbles and spirals, whereas Elphaba’s all-black wardrobe alludes to nature, where she often finds solace.

Chu and company have crafted a masterful film, speaking to our era through the throwback style of old-school filmmaking. It’s as rebellious as it is rousing, electrifying as it is entertaining, earnest as it engrossing. It’s what we go to the movie for and why movie palaces are erected.

Grade: A

WICKED opens in theaters on November 22.