(***1/2)
“I’ve heard it said. That people come into our lives for a reason…”
That poet lyric is from the song “For Good,” arguably the second most famous tune from the Broadway musical Wicked. The words hint at the theme of this final half of the Wicked duology, which has been magically created by screenwriters Winnie Holzman and Dana Fox and manifested brilliantly by director extraordinaire Jon M. Chu.
Their 2024 film version of Wicked, a stroke of genius, earned $750M+ at the international box office, becoming the most successful Broadway musical adaptation of all time. It was also nominated for 10 Academy Awards and won two. Nominations: 1.) Best Achievement in Makeup and Hairstyling. 2.) Best Achievement in Music Written for Motion Pictures. 3.) Best Sound. 4.) Best Achievement in Visual Effects. 5.) Best Motion Picture of the Year. 6.) Best Performance by an Actress in a Leading Role (Cynthia Erivo). 7.) Best Performance by an Actress in a Supporting Role (Ariana Grande). 8.) Best Achievement in Film Editing (Myron Kerstein). Wins: Best Achievement in Production Design (Nathan Crowley, Lee Sandale) and Best Achievement in Costume Design (Paul Tazewell).
The difference in 2025 is that Wicked: For Good could sweep all those previous categories and give Chu a directing award for making arguably the best Broadway-to-screen film of our times. The visuals and sounds are exquisite and enchanting. The acting is superb, with Erivo and Grande finding and using all the nuances in their two lead characters to make them truly iconic. They blur the lines between frenemies, bosom buddies and jealous sisters. Credit the script and direction for building the personas and the two women for developing the characters to the fullest extent.
Chu, ever the mastermind, corrals and manages all the moving parts superbly. The elaborate sets, sound effects and music. Exhilarating action scenes that break up the high drama and romance. Intimate moments of discovery and retrospect. It’s like you’re drawn into the lead and supporting characters lives as they figure out who they are, who they love, who’ll love them back and who must pay for the misdeeds they’ve done.
It’s hard in the film’s first twenty minutes to remember all the details of the previous chapter and bring them forward. Pity anyone who didn’t see the first adaptation and is trying to discern this one without previous knowledge. Regardless, getting reacquainted takes a minute, and songs in the beginning sequences aren’t that stunning or memorable. So be patient. Focus your attention initially on the tale that’s unspooling. Then eventually, other important aspects kick into high gear too, as the compelling storyline evolves in ways that will intrigue children, teens and adults—right until the end.
As the famed Yellow Brick road is being built by animal labor, Elphaba (Cynthia Erivo) is on the lam. She’s hunted by the Wizard of Oz (Jeff Goldblum), his henchwoman Madame Morrible (Michelle Yeoh) and the army of fierce flying monkeys they control. Morrible: “The Wicked Witch can’t allude us forever!” Both schemers, using lies and deceit, have turned the people of Emerald City against the witch, who’s now been deemed wicked. Even the love of Elphaba’s life, Prince Fiyero (Jonathan Bailey), heads the soldiers who track her. Elphaba’s younger sister Nessarose (Marissa Bode) is bitter that she’s been left behind and is grappling with her romantic feelings for Boq (Ethan Slater), a munchkin. Surprisingly, Glinda (Arianna Grande) only seems moderately interested in her friend’s plight. Luxuriating in her majesty, flying in a new vehicular wagon sphere, a bubble that floats her up, down and around. All while she’s being catered to by her two sycophants Pfannee (Bowen Yang) and Shenshen (Brownyn James).
This can’t go on. Animals are fleeing the Land of Oz afraid of arrests or being imprisoned, like Dr. Dillamond (Peter Dinklage). Morrible and the Wizard are becoming more conniving and malicious every day. Lying to their public and blaming Elphaba for all that’s wrong. The Wicked Witch of the West becomes crestfallen but never loses her zest for exposing the truth and fighting for the less fortunate. That spirit drives her. Is it enough to counter the rumors, degradation and evils set upon her by those who wish she would melt away?
Unlike the first chapter, in this episode the Land of Oz has an interloper. Dorothy. Yes that Dorothy. Her quest adds an extra winsome tone as the little girl from Kanas, wearing ruby slippers, tries to find her way home with a dog, Tin Man, Cowardly Lion (Colman Domingo) and Scarecrow in tow. It’s a nice touch to what is already an increasingly engrossing storyline. A narrative that gets richer and more fanciful with every frame. The two-hour and 18-minute movie musical swirls to an ending with enough twists to surprise everyone. A finale that strays from the Broadway musical, so even hardcore fans will be amazed.
Chu’s direction and the excellent production elements are extraordinary. But perhaps the film’s strongest elements are the two leads. They sing well, separately and together. The script gives the lead characters arcs that take them to a revelatory understanding about themselves, each other and life. Erivo and Grande mine the small things and big moments in their characters’ journeys. Erivo’s Elphaba is brave. Grande’s Glinda needs and has the most growth. A wondrous metamorphosis. And both singers’ voices are angelic in ways that leave lasting impressions.
You’ll have a feeling of nirvana as you watch their relationship grow and learn from their experience. It’s a lesson about friendship and how two people can find their way back to each other. All done with a guidance and style way more deserving of Oscar® wins than just nominations.
Elphaba and Glinda summate what audiences will feel when they hear their song “For Good.” “I know I’m who I am today. Because I knew you.”
Trailer: https://www.youtube.com/watch?v=vt98AlBDI9Y
Visit Film Critic Dwight Brown at DwightBrownInk.com.