After a two-year-long press tour, several unbeatable pop culture moments and discussions surrounding whether or not both films would even be picked up, Jon Chu’s “Wicked: For Good” released in theaters on Nov. 21, leaving audiences changed for the better.
In its epic conclusion, “Wicked: For Good” stays true to its source material while expanding on the narrative the stage adaptation hinted at, giving long-time fans a payoff that feels both inevitable and unexpectedly intimate.
The sequel, starring Cynthia Erivo and Ariana Grande, allows the two to bring new depth to their characters, showcasing an onscreen chemistry that the second act of the Broadway musical lacks.
While the first movie centered on Elphaba and Glinda’s origin stories back at school, the second is much darker in tone. Oz’s talking animals are locked in cages and the Munchkins are forbidden from traveling, which serves as an allegory for fascism.
The film includes two new songs that were not originally a part of the Broadway musical, both of which ground the film in contemporary politics. “No Place Like Home,” performed by Cynthia Erivo, and “The Girl in The Bubble,” performed by Ariana Grande, critique current immigration policies and emphasize the need for a political awakening. Even though this theme is underscored throughout the film, it’s presented with nuance, making the parallels digestible for audiences without alienating them.
On Broadway, the second act of Wicked sits at an hour in length, a mere clock-tick compared to the film’s 2 hour and 17 minute run time. This leads to several pacing issues in the film’s first half, which is partly due to unnecessary dialogue.
Though this is the case, “Wicked: For Good” ramps up at the halfway point, where “As Long as You’re Mine” delivers one of the film’s strongest sequences. Erivo and Jonathan Bailey’s duet ultimately regrounds the film and redirects focus to the characters’ personal stakes.
Though the scene is performed in a way that is suitable for a PG audience, this particular number is tame in comparison to the Broadway version. In short, this scene could have used a little more spice.
This number is followed up by Erivo’s standout performance of “No Good Deed,” which serves as the climax of the film after Elphaba’s sister, Nessarose, is smashed by a house and Fiyero is nearly beaten to death by the Wizard’s guards.
While this is Erivo’s best musical performance from either of the films, it is Grande’s take on Glinda in the movie that rises above the rest. Shifting from someone who is socially self-assured in the first film to someone weighed down by guilt from the growing tensions between the Wizard and Elphaba in the second is no easy feat — Grande does so in such a way that positions her as the film’s breakout force.
Grande is equally as funny in this film as she is in the first, but it is here where her star power truly shines. As the film progresses and she realizes her complicity with the Wizard’s actions, she delivers an emotionally resonant performance, especially toward the end, with her tear-jerking character choices in “For Good.”
This particular scene will leave audiences reeling over the state of Elphaba and Glinda’s fractured friendship, highlighting the growing distance between the characters while emphasizing the bond that anchors them.
Other favorable aspects of the film include Ethan Slater’s makeup design after he transforms from Boq into the Tin Man, the lavish set design and the closing scene in which Glinda whispers into Elphaba’s ear — a direct reference to the Playbill cover of the Broadway production.
“Wicked: For Good” is bound to leave a lasting impact on the Broadway community, pop culture and the future of movie musicals as a whole — setting a new standard for adaptations for good.
