I, like The Good Witch of Oz, couldn’t have been happier at the beginning of Jon M. Chu’s Wicked: For Good. However, a few ticks of the clock later, I actually could have been happier.
A year and several Cynthia Erivo/Ariana Grande press junkets after Wicked debuted in theaters, I was finally seated for the epic conclusion of one of the best fanfiction stories ever written. I was originally a Wicked fan by culture, not by source material — meaning I grew up with an appreciation of references in pop culture, such as a song or two on Glee. I knew the beats of the musical, but the 2024 movie was my first time seeing the story come to life.
I knew that a common criticism of the musical itself was that the second half feels rushed, and that there’s not enough time to tie up the loose ends seamlessly. Truth be told, I’m a little biased toward the idea that no on-stage musical gets better after the first act. Unfortunately, Wicked’s sequel, made from the parts of the Broadway musical which come after the intermission, falls victim to this pattern. It’s not, however, the fault of its filmmakers and actors. Maybe the original text wasn’t that great to begin with.
Part of Wicked’s success last year was that it was able to present itself as this epic, musical event filled with iconic musical numbers, dazzling costumes, and a charming nod to the Wizard of Oz. It was the perfect feel-good movie which also felt a little too close to reality, with its timely political themes.
The first act finale of “Defying Gravity” is a tough act to follow, both on stage and on film. Wicked: For Good had quite the climb ahead of it. Its predecessor had rightfully gained acclaim and praise, not to mention Universal’s marketing campaigns hyping up its conclusion wherever you look. But the sequel can’t quite live up to the hype.
My issue isn’t with the fact that Wicked: For Good takes a much darker tone. After all, it was bound to be a story of consequences, especially considering the tone shift after Elphaba (Erivo) and Glinda (Grande) make it to Emerald City. My problem is that there’s way too much going on in this two-hour-and-fifteen-minute time span.
It’s been 12 tide turns since Elphaba fled Oz with the grimoire. The Wizard’s (Jeff Goldblum) campaign to turn the Ozians against its native population of talking animals has intensified, with the newly oppressed minority losing their rights and privileges. Madam Morrible (Michelle Yeoh) is waging a war between “good” and “evil,” with Glinda as the centerfold of virtue and Elphaba representing the epitome of wickedness.
In her new official role as “Glinda the Good,” Grande stands to encourage Ozians, while concealing the fact that she has no magical powers of her own. Her facade is maintained by her perpetually bubbly appearance, and a pending marriage to Fiyero (Johnathan Bailey), who has been promoted to Captain of The Guard in the Wizard’s army.
Meanwhile, Elphaba has been confined to a life on the run, as she continues her quest to expose the wizard’s lies and deception. With all of Oz looking to defeat her, she’s been unable to stay in contact with Glinda, Fiyero, or her sister Nessarose (Marissa Bode.)
Nessarose is the newly appointed governor of Munchkinland, and she keeps the region under a firm grip. Her dictatorial ways are part of an effort to avoid being identified with her pariah sister, and to prevent Boq (Ethan Slater) from leaving her.
Elphaba crashes Fiyero and Glinda’s wedding after being duped into a compromise with the wizard. Fiyero, who had disguised his care and concern for Elphaba, decides to join her in captivity, leaving Glinda heartbroken. Struck by jealousy, Glinda instructs Madam Morrible to go after Nessarose in order to entrap Elphaba.
As stakes rise, and destiny is questioned, Elphaba must decide how much she’s willing to risk to save Oz, while Glinda grapples with what it means to actually be good.
Adapted series such as Harry Potter and Twilight have broken their conclusions into two parts, which resulted in pretty strong film adaptations. But those stories had an abundance of source material to pull from. Wicked: For Good was given the daunting task to not only extend the latter half of a musical that peaks at halftime, but to also make that latter half make sense as a standalone story.
Yes, the story gets wrapped up — and The Wizard of Oz gets set up — but it left me overly stimulated in the process. I must stress, though, that I don’t think it’s entirely the filmmakers’ fault. When adapting any intellectual property into another medium, creatives must battle with potential and legacy. If director Jon M. Chu had punched up the story drastically, he would’ve alienated a throng of devoted fans in the process. The flip-side is two hours of fan service, which leaves new audiences perplexed, and maybe even a bit let down.
Wicked: For Good feels like listening to a child recite a dream — frantically piecing together abstract concepts and visions with “and then this happened.” This goes back to the main criticism of the on-stage counterpart. It’s an ambitious undertaking to intertwine the story of the Wizard of Oz while also continuing the journeys of the film’s main characters. The songs aren’t quite as catchy, and even with an extended 137-minute run time, it still feels rushed.
Nevertheless, as a fan, I will be seated for a second, third, and probably even a fourth rewatch.
Wicked: For Good
Now playing
Multiple locations