Over the weekend, I stumbled across a side-splitting post from a well-known social media influencer titled “Before Wicked vs After Wicked.” The post captured his humorous skepticism regarding the overwhelming initial acclaim for the new movie, as friends enthusiastically told him, “It’s going to win best picture!” He shot back with a playful plea, “Can we all just calm down please?” However, by the time the credits rolled, he was left in tears, utterly astonished and somewhat frustrated by just how much he loved the film.
That made me feel stupendiferously seen because it echoed my own journey over the recent weeks. Many individuals in my circle, including a highly perceptive colleague, had insisted that this film would be monumental and fantastic, despite my vigorous reluctance to be swept up in the hype.
I felt justified in my resistance, however, due to my early experiences with the franchise. My mother had recommended Gregory Maguire’s 1995 novel “Wicked: The Life and Times of the Wicked Witch of the West” to me back in the late ’90s, which I appreciated moderately. Yet, when I finally attended the Broadway musical in the mid-aughts, sitting in the front row after winning a ticket lottery, I felt that the narrative was awkwardly crammed into the performance, often sidelined for the sake of extravagant musical numbers—only one of which truly resonated with me, of course, that being the iconic “Defying Gravity” at the conclusion of Act I.
Fast forward two decades to a screening of “Wicked” just last week, where I was left utterly astounded. I found myself emotionally moved, observing how the lengthy two-hour and forty-minute runtime seemed to fly by effortlessly, while the musical sequences that I had previously dismissed now appeared to be spectacularly crafted.
How did I get to this emotional juncture? I pondered. There are a myriad of clear reasons behind the success of the Jon M. Chu-directed film: Cynthia Erivo’s shimmering emerald green visage radiates a whirlwind of emotions right from the first frame, and the palpable chemistry between the three principal actors—Erivo, the enchanting Ariana Grande, and the charming Jonathan Bailey—resulted in an electric atmosphere both on-screen and off. Additionally, the breathtaking sets, soaring musical scores, and a stellar supporting cast, including the likes of Marissa Bode, Michelle Yeoh, Jeff Goldblum, and Bowen Yang, further elevated the film.
‘Wicked’ was initially, and always, intended to be a movie
But another factor stands out as equally compelling. Despite my lack of extensive knowledge of Broadway history, the origins of the “Wicked” musical had retained some aural echoes in my mind. Maguire originally penned the book with illustrious film stars in mind—dreaming of casting names like Melanie Griffith and Antonio Banderas—always envisioning its evolution into a film. He recounted in The Guardian in 2021 how “the calls from Hollywood came within a week of publication.”
Universal initiated the development of “Wicked” as a non-musical film, but Maguire recalled that they were “weren’t getting satisfactory scripts.” Additionally, there were concerns about investing a staggering $100 million into a fantasy picture that lacked prominent male roles.
To put this into perspective, this occurred during the mid-’90s, well before the “return of the movie musical” wave spearheaded by “Chicago’s” Best Picture Oscar win in 2003. Oscar-winning composer and lyricist Stephen Schwartz even began advocating for a different route. In a recent interview with Grammy.com, he shared how he climbed the ranks at Universal to persuade Mark Platt, then-head of Universal Pictures, to postpone the film adaptation.
Schwartz’s arguments were compelling; producing a theatrical musical involves significantly less financial risk than launching a lavish film and, as Maguire articulated, a non-musical film simply “is not going to hit the heart like a musical does.” The inclusion of songs provided a unique opportunity for Elphaba and Glinda, the central witches, to draw audiences into their emotional worlds.
The overwhelming success of both the Tony-winning Broadway production and now the film serves as a testament to Schwartz’s impeccable instincts. The shifting tides of public sentiment, with a recent resurgence of musicals prevalent now more than ever, finally cleared the way for this cinematic phenomenon to make its grand and viral entrance into mainstream culture.
Clearly, the elements comprising the “Wicked” narrative are distinctly suited for a cinematic experience.
While the beloved 1939 film “The Wizard of Oz” itself was adapted from a book (specifically, L. Frank Baum’s timeless 1900 work “The Wonderful Wizard of Oz”), it represented a pivotal moment in the evolution of cinema. The film was not only groundbreaking as the first major motion picture to employ Technicolor but has also cemented its status as a touchstone in family-friendly film history.
However, the new “Wicked” film goes beyond that legacy, as seen through its whimsical opening—minor spoilers ahead.
The film begins at the very moment where the 1939 “Oz” left off, featuring the iconic pointy black hat resting in a puddle of water. From the outset, the new movie begins to explores the life of the Wicked Witch of the West from an alternative perspective, diving into the backstory that explains her renown wickedness. This connection seemed to pay tribute to the rich imagery associated with that storied character—a nuance the stage adaptation simply couldn’t capture.
It’s essential to clarify that the musical adaptation did an admirable job of celebrating and uplifting Elphaba in its own right. However, the cinematic format zeroes in on intimate details that a film camera uniquely captures, inviting audiences on an altogether different, exciting journey. It was in that moment that I sensed this film was something exceptional, and indeed, I was correct.
How does Jamie Lawson perceive the role of *Wicked* in the current resurgence of musicals in film?
**Interview with Film Critic and Broadway Enthusiast, Jamie Lawson**
**Interviewer:** Jamie, thank you for joining us today. You recently shared your thoughts on the *Wicked* film adaptation and your hesitance to embrace the hype surrounding it. What were your initial impressions, and how have they evolved?
**Jamie Lawson:** Thank you for having me! Initially, I was skeptical of the overwhelmingly positive buzz about the *Wicked* movie. I had a mixed experience with the musical—while I appreciated the story, I found that some of the musical numbers felt extraneous. But after actually seeing the film, I was really surprised. The emotional depth and the way the musical numbers were integrated completely changed my perspective.
**Interviewer:** That’s interesting! You mentioned feeling emotionally moved during the film. Can you elaborate on what resonated with you the most?
**Jamie Lawson:** Certainly! Cynthia Erivo’s performance as Elphaba was just breathtaking. From her first appearance, she commanded the screen with her vibrant energy and raw emotion. The chemistry among the main cast—Erivo, Ariana Grande, and Jonathan Bailey—was electric, and I found myself truly invested in their journey. Moreover, the cinematography and set designs were stunning, creating a world that was both visually and emotionally engaging.
**Interviewer:** You also touched upon the origins of the *Wicked* musical and how it was always intended to transition to film. Can you share your thoughts on how that history played into your viewing experience?
**Jamie Lawson:** Absolutely! Knowing that Gregory Maguire envisioned *Wicked* evolving into a film from the very start added a layer of depth to my viewing. It made me appreciate the evolution of the story and the thought behind the adaptation. The challenges faced in development, like moving from non-musical scripts to incorporating songs, reflected the creative struggle to ensure that the heart of the story translated successfully on-screen. It’s fascinating how things came full circle from the idea of casting stars like Melanie Griffith and Antonio Banderas to the actual casting of Erivo and Grande.
**Interviewer:** There seems to be a resurgence of musicals in film today, which some attribute to changing audience sentiments. How do you think *Wicked* fits into this trend?
**Jamie Lawson:** I think it’s a prime example of how audiences are once again embracing musicals. The success of productions like *Chicago* and *La La Land* paved the way, and *Wicked* capitalizes on that momentum. It brings emotional storytelling through song to a new generation, capitalizing on nostalgia while also appealing to new viewers. The film’s ability to connect emotionally really reflects a broader cultural shift towards storytelling that resonates on multiple levels.
**Interviewer:** Thank you, Jamie, for sharing your insights. It sounds like *Wicked* has made a lasting impression!
**Jamie Lawson:** Thank you! It certainly has, and I’m excited to see how it continues to be embraced by audiences.
