The much-anticipated continuation of the Wicked film series, titled Wicked: For Good, sees director Jon M. Chu tackling the latter half of the tale that has captivated audiences for years. While last year’s adaptation of the beloved Broadway musical dazzled with its brassy charm, it also left some critical threads unresolved, notably foreshadowed by its title card that ominously stated “Part One.” This sequel now stands ready to address those narrative gaps, but it faces significant challenges, primarily due to the complex nature of its source material.
The first act of the original Wicked musical successfully wove together themes of self-discovery, humor, and darker fantasy elements. However, the second half has long been criticized for its struggle to coherently wrap up multiple storylines while relying on a weaker selection of songs. Chu, along with screenwriters Winnie Holzman and Dana Fox, must now juggle these intricacies with high expectations from fans. The film stars Cynthia Erivo as the misunderstood witch Elphaba and Ariana Grande as the cheerful Glinda, whose performances lend a sense of credibility to the unfolding drama, even as the film’s structural flaws emerge.
Set against the backdrop of Gregory Maguire’s 1995 novel, Wicked: For Good picks up the narrative as Elphaba, increasingly vilified for standing against the tyrannical Wizard (Jeff Goldblum), becomes more entrenched in her role as a supposed villain. Her quest for justice, particularly for the mistreated talking animals of Oz, highlights the political dimensions of the plot. Meanwhile, Glinda reluctantly aligns with the Wizard while grappling with her loyalties, and the film also features Prince Fiyero (Jonathan Bailey) as a character caught in the struggle between sides.
Wicked: For Good attempts to incorporate the narratives familiar from The Wizard of Oz, introducing characters like the Tin Man and the Cowardly Lion while keeping Dorothy mainly in the background. This strategy seeks to challenge preconceived concepts of goodness and villainy. However, critics suggest that the film fails to intertwine these narratives effectively, resulting in a lack of cohesive storytelling.
Despite the challenges, the film includes new musical numbers by composer Stephen Schwartz, though they largely serve as additional padding rather than significant plot advancement. While some familiar songs do resonate, the absence of lively choreography replaces energy with CGI-driven spectacle. The character dynamics, particularly Glinda’s internal conflict, hold the potential for depth, but the absence of humor detracts from what made the first installment enjoyable.
Ultimately, while Wicked: For Good aspires to elevate the story, it grapples with the limitations of its predecessor and the complications of its ambitious source material. As the climax approaches, viewers are left longing for more resolution and satisfaction, reminiscent of the excitement that once launched the Wicked saga onto the big screen. Fans hope that this continuation can reclaim some of the magic and charm that initially drew them in.