Wicked is an adaptation of an adaptation of an adaptation of an adaptation. Frank L. Baum’s 1900 novel The Wonderful Wizard of Oz was adapted into Victor Fleming’s immortal 1939 golden age musical The Wizard of Oz, which eventually led to the revisionist series of Wicked novels by Gregory Maguire, which led to the stage musical by Stephen Schwartz (film viewers know him better from Disney’s Pocahontas, The Hunchback of Notre Dame, Enchanted and DreamWorks’ The Prince of Egypt).

Given the little exposure I had of the last two entries, and the general air of the trailer, I wasn’t too keen about the quality of storytelling in this two-parter (yes, you read that right: there will be another Wicked film next year).

I am not saying that my inclinations were wrong, yet they were not as right as I thought them to be.

This film, by writers Winnie Holzman (Roadies, My So-Called Life) and Dana Fox (Cruella, The Lost City), is directed by John M. Chu, with a visual flair that, at times, makes the film seem like a big, brightly-lit, television commercial.

Wicked shines with its musical numbers and the powerhouse performances of Cynthia Erivo and Ariana Grande

Chu, whose directorial credits includes romance-musicals Step Up 2: The Streets, Step Up 3D, Jem and the Holograms, In the Heights, Crazy Rich Asians, and the odd action blockbuster (G.I. Joe: Retaliation, Now You See Me 2), knows when to let the material shine.

In this case, that would be Schwartz’s musical numbers, the lavish production design by Nathan Crowley (Wonka, The Greatest Showman, Interstellar), and the powerhouse vocal and acting prowess of Cynthia Erivo, who plays the “evil” Wicked Witch of the West, Elphaba and — I didn’t know I’d ever be writing this — Ariana Grande.

“Evil” is written with quotation marks, because Wicked belongs in the company of movies that humanises, empathises with, and celebrates villains — eg Maleficent, Cruella.

Like in those movies, the “evil” begins from a place of larger societal villainy. Here, elders (often men), are bad people, as are the norms of society. So outcasts, after realising that they have been used by ill-meaning people, rebel and are, in turn, branded as villains by people in power.

In this case — spoiler alert — these would be Jeff Goldblum as the Wizard of Oz and Michelle Yeoh as Madame Morrible (see: even her name rhymes with horrible), the Dean of Sorcery at Shiz University.

The entirety of Wicked is led to that origination of rebellion/ villainy by Erivo and Grande (the latter will eventually turn into the good witch of Oz, Glinda the Good). Most of the run-time, though, explores their friendship, with a very slight hint of something more.

The Wicked novels are more adult-themed, but since this is a PG-rated film, the sexual aspects are swept under the rug (though, Elphaba’s mother’s drunk indulgence with a travelling salesman that led to her conception is perhaps a tad too visual for children).

Other on-the-nose aspects are kept intact; some, even elevated.

Elphaba was played by Idina Menzel on the stage (you may know her as Elsa from Frozen) but here, with Erivo, the racial ostracisation — especially based on the colour of her skin — is put at the forefront.

Deeper arguments about animal cruelty, equal rights, the nature of evil, propaganda, the ill use of power, and the morals and convictions behind terrorism, are given their due share of screentime, but not at the expense of entertainment.

While I may not be happy about revisionist tilt of material, the lack of a sneaky, snarky, holier-than-thou way of addressing issues is a welcome approach that more filmmakers should adopt — especially when one is working with stories and characters people have loved for generations.

While Wicked is a big thing this year, I see it more as a footnote to a bigger franchise (I somehow have hate for that word now) that will keep your interest afloat until the year-long intermission break between the two movies is over.

Released by HKC and Universal, Wicked is rated ‘U’ in Pakistan, and is suitable for audiences of all ages and genders. It is big, bright and full of rousing musical numbers

Published in Dawn, ICON, December 8th, 2024