By BRUCE DENNILL
Wicked: For Good / Directed by Jon M Chu / PG
Feeling slightly less like a marketing campaign with a film added late on than the first Wicked movie did, this second act retains much that was good about the initial instalment – the golden-era Hollywood musical scale, with its attendant lush costumes and massive ensembles; the retention of many elements of the timeless original story; and Stephen Schwartz’ intriguingly complex and sometimes wonderfully accessible music – while also creating a full package that fits together better and offers a considerably more satisfying watch.
Now, Elphaba (Cynthia Erivo) is the much-feared public enemy number one, the Wicked Witch of the West, living in a hideout in the wilderness and only appearing to do her best to stymie the plans – building infrastructure, keeping the population of Oz onside – of the Wizard (Jeff Goldblum) and his representative Madame Morrible (Michelle Yeoh). Glinda (Ariana Grande) is the perma-smiling face of all that the powers that be want to position as good and positive and profitable, and she so enjoys the attention and the lifestyle (a palace apartment; a bespoke means of transportation) that any hint that all is not above board is too easy to ignore.
The satire in the script is no less superficial than it was in the first film, but it feels much better delivered – particularly the metaphorical sneering at celebrity culture.
Performance-wise, Erivo once again carries the bulk of the pathos and depth. Glinda is given a bigger arc and Grande does well to show the character as first posturing and then (relatively) more philosophical. Goldblum has much more to do and does it with enjoyably oily charm, while Jonathan Bailey (Fiyero), Ethan Slater (Boq) and Marissa Bode (Nessarose Thropp) provide good support. Yeoh is a little stiff, the only major performer whose performance suggests an awareness of needing to hit marks rather then being flowing and fun.
For viewers who haven’t seen the stage show, seeing how the characters from The Wizard Of Oz are incorporated in this story is hugely enjoyable and very well handled by both writers Winnie Holzman and Dana Fox and director Jon M Chu. Visually, everything is bright, beautiful and engaging and the musical setpieces are fantastic with – unsurprisingly – For Good being particularly special.
There is fine storytelling, epic scope, attractive imagery, enduring music and the examination of a number of important themes here. If the brashness of the marketing (as mentioned, it doesn’t feel as heavy as last time, but perhaps audiences have simply become acclimatised) and the studio insistence that onlookers agree with every agenda they think they’ve highlighted can all be set to one side, this is a film to genuinely appreciate and delight in.