Not since the Barbie film, have we seen such an extravagant press junket; chock-a-block with gorgeous haute couture, radical manicures and a just a dash of awkward interview chat. But Wicked: Part 1 is finally here, and it’s well worth the wait – and wickedly, wickedly good.
Directed by Jon M Chu (who made Crazy Rich Asians), the film stars Cynthia Erivo as Elphaba Thropp and Ariana Grande as Galinda Upland. Of course, this isn’t the first time these characters have lit up the silver screen; they are based on those first created by L Frank Baum in the Wonderful Wizard of Oz book and subsequent Oz book series. The series has been adapted many times for film, television and theatre, including the classic 1939 musical film starring Judy Garland, 1978’s The Wiz with Diana Ross and Michael Jackson, 1985’s macabre Return to Oz and, of course, Wicked, the Broadway musical and now film.
The Tony Award-winning musical is itself loosely based on Gregory Maguire’s 1995 revisionist novel, Wicked: The Life and Times of the Wicked Witch of the West. The stage musical has a huge fan base and has grossed about $1.66bn. This is not surprising, as it’s been running for 21 years. It’s also made stars of leading ladies Kristin Chenoweth and Idina Menzel, both of whom have charming little cameos in the film.
Funnily enough, and surely due to its popularity among a generation of theatre kids, American cinemas have had to put up signs banning impromptu movie sing-alongs among Wicked aficionadas.
Taking place before the infamous adventures of Dorothy Gale and the Wizard of Oz, Wicked tells the origin story of Elphaba, an extremely smart, kind and gloriously green girl who grows up to be the Wicked Witch of the West. She’s paired with charmed and charming, beautiful Galinda, who becomes Glinda the Good. Mix in some banging tunes, a love triangle, some surprising Narnia-like talking animals and you have Wicked.
Old Hollywood glamour
As someone who grew up on a steady diet of old musicals (usually taped by my mother on VHS), I long for the magic of old Hollywood in all its Technicolor glory. Wicked is the closest thing to it I have experienced in years, with its vivid colour and escapist world-building. Even the opening and closing title credits are pure Golden Age of Hollywood glamour.
Wicked is also a sartorial triumph, thanks to Tony award-winning costume designer Paul Tazewell. From Galinda’s fluffy and flowing looks in an array of pinks, to Elphaba’s high-necked Victorian-like tailoring and statement shoulders, someone might as well give Tazewell the Best Costume Design Oscar right now.
Perhaps a Best Production Design Oscar is on the horizon for the film too. Production designer Nathan Crowley has managed to create a fantasy world that both honours the 1939 film but is new and exciting too. From fields of rainbow-coloured tulips and hypnotic red poppies to lush forests and a futuristic insect-like train with shiny gold cogs and gears, what he has manifested is stunning. That said, it’s the iconic Emerald City in all its Art Nouveau glory, mixed in with Art Deco skyscrapers and even a bit of brutalist surface patterning, that is the scene stealer.
The real pinnacle of the film is, of course, the cast. Galinda is vain, picture-perfect and spoilt, yet she somehow manages to make what could be an unlikable character funny and lovable. Bridgerton’s Jonathan Bailey is love interest Prince Fiyero Tigelaar (a prince of a region hilariously named Winkie) – a loveable rogue and a bit of a bubblehead. Watch out for him singing the lyrics “Life’s more painless for the brainless” in the song Dancing Through Life.
Undoubtedly, though, it’s Erivo as Elphaba – in all her emerald, green greatness – who I couldn’t take my eyes off. The Tony Award-winning British actress and singer is breath-taking in every scene.

One for the musical lovers
Despite my gushing, the film isn’t perfect. Its major downfall is that it’s way too long at two hours and 40 minutes. This has unfortunately become a trend in movies of late – remember when films were a tight, perfectly edited 90 minutes? We’d like those days back please.
To that point, Wicked dragged on mid-movie with a few less than memorable songs and dance sequences. That said, the action does heat up again and the film ends with a completely awe-inspiring final scene and song.
Wicked won’t be for everyone. This is particularly a warning for the non-musical crowd, who feel ill at the thought of the merry cast constantly breaking into a choreographed dance and song. I also found the Munchkins and Elphaba and Galinda’s fellow students irritating, dense and unkind, but this creates space for some real-life lessons on the importance of kindness, equality, bravery and the magic of friendship.
Wicked is opulent and old Hollywood, but with a much-welcomed diverse cast and killer soundtrack that I haven’t stopped belting out, off key, since I saw it. I’m not alone in enjoying it – the film has had the biggest opening weekend ever for a Broadway adaption. It brought in $163m, surpassing previous record holder Les Misérables (which opened at $103m).
I give it 4.5 terrifically pointy witch hats out of five and my advice is to jump on your broomstick and go see it right away. If the Glee kid in you is dying to join in, the Bioscope Independent Cinema at 44 Stanley Avenue in Joburg has promised a couple of sing-alongs over the next few weeks.
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