‘Wicked’ embraces musical roots in screen adaptation

Despite its emergence alongside the invention of the sound picture, the musical “Wicked” ended up as the toddler medicine of film genres. The golden age of musicals ceased decades ago, but from time to time, it makes rare and memorable appearances.

The recent record of musicals is pockmarked with successes and failures, but for some reason, there is a special fear among producers to fail in musicals compared to other genres. Accusations against film studios for deliberately “hiding” musicals from the public started after the release of “song-free” initial film trailers of “Wonka” and “The Color Purple.” Like sneaking medicine inside food to trick a toddler into drinking it, modern musicals are disguised not to spoil ticket booth attendance.

With a multi-million budget, an all-star cast, and the preeminent modern musical director at the helm, “Wicked” embraces its musical roots. Granted it is one of the most recognizable theatrical properties, but it still feels refreshing to see a film studio market a musical as a musical.

Flawed but heartfelt, the brilliant cast and the manic spirit of its director elevated the first part of “Wicked” into a largely entertaining big-screen adaptation.

Although it remains faithful to the stage musical, the film tweaked certain production numbers and added lore from the novel and the 1939 classic “The Wizard of Oz.” The oppressively pink Glinda the Good Witch floats in the bubble as the citizens of Munchkinland celebrate the death of the Wicked Witch of the West. One of the munchkins pressed Glinda if she was once friends with the dead witch right after the revelries. Turning poignant, she steps back and draws the curtains of her memories open. Transporting the captive audience to her time as a student in Shiz, we meet her roommate Elphaba.

Despite her strange green skin, Elphaba developed an unwavering confidence built on her desire to meet and work with the Wizard of Oz. Things fell into place when the Headmistress of Shiz, a close friend of the wizard, recognized her innate power and took her in as her sole student. But Elphaba soon realized there was something rotten in Oz after one of her professors, a goat named Dr. Dillamond, lost his job. Animals were once respected citizens but are now victims of an elaborate scheme to silence them forever. As Elphaba tries to uncover the truth, she receives an invitation from the wizard. In her journey to Emerald City, the answer to the question of whether people are born wicked or if wickedness is thrust upon them unfolds.

No one questioned the casting of Cynthia Erivo as Elphaba Thropp. Few people can act and, more importantly, hit the high notes in equal and effortless measure like her. And in “Wicked,” Erivo delivered a committed and earnest performance as Elphaba. Ariana Grande remained a question mark to some people when she was announced as Galinda Upland. Let me tell you this, she is a scene-stealer. My notes read: “How many liberal white women did she study before stepping into Galinda? Like Galinda is the perfect encapsulation of the terrible white women.” I laughed way too hard when she changed her name from “Galinda” to “Glinda” and wrote down, “Come through virtue-signaling white woman.”

The rest of the cast is just as commendable, but Jonathan Bailey will most likely end up as the breakout star after his delightful performance as Fiyero Tigelaar. Surprisingly, Jeff Goldblum, as the wizard, kept his Goldblum-ism to a minimum. Ethan Slater as Boq, the awkward munchkin in love with Galinda, and Marissa Bode who plays Nessarose, the paraplegic sister of Elphaba, acquitted themselves well. I do hope the second part of “Wicked” provides more opportunities for the supporting cast, in particular, the characters played by Bowen Yang, Bronwyn James, and Michelle Yeoh. Considering the runtime, I felt they were underutilized. For most of the film’s media blitz, Yeoh shared her fear of working on a musical. Michelle, I am old enough to remember you singing the theme song of an old martial arts film that, as a treat to fans, includes a risqué music video. Come on, queen.

Like most brilliant musical directors, Jon M. Chu possesses a manic vision. He cut his teeth on “Step-Up” films and a Justin Bieber concert movie before he directed “Crazy Rich Asians.” One can see his musical sensibilities in the aforementioned film as he pounded it with a jazz orchestra soundtrack and transformed the standard rom-com into a spectacle. Three years later, he helmed the brilliant screen adaptation of “In the Heights.” While it faltered at the box office, Chu has established himself as the foremost modern musical director.

Hence, I could not help but feel frustrated as I watched the first couple of hours of “Wicked.” The musical numbers were terrific because Chu understands how to film it on screen. I particularly love how he playfully used split screens in various numbers that feature Elphaba and Galinda. What frustrates me is how washed out it looked on screen, at least until the last half hour. The choice of color grading baffles me because it was a disservice to the brilliant costume and production design. When filmed properly, one experiences the tactile quality of the massive practical sets and the exquisite costumes. Fortunately, the last half hour of “Wicked” is, for lack of a better term, magical. Chu seemed to have broken a spell in time to unleash color, movement, and music that led to that defining, or should I say, defying number that will leave fans thrilled and satisfied.

I first heard of “Wicked” from a friend who worships Idina Menzel, the original Elphaba. We were able to watch the stage musical during its first Manila run in 2014. One decade later, it remains remarkable that the story of how a popular but fascistic con artist terrorizes minorities and dissenters into submission echoes louder in the present.