The songs may not be as catchy this time around, but “Wicked: For Good” really sings where it counts: with the emotional ache of the fractured friendship at the story’s core.
All the technical marvel remains dazzlingly in place from director Jon M. Chu’s first half of “Wicked,” based on the Broadway musical phenomenon, which came out just one year ago. That includes the elaborate production design from Nathan Crowley and the exquisite costuming from Paul Tazewell, both Oscar winners from part one. If you enjoyed all of that and hope to see more of it, don’t you worry: The darker tone that marks this second half doesn’t mean there’s an absence of wonder in the wonderful land of Oz.
But the real special effects come from the deeply felt performances from Cynthia Erivo and Ariana Grande, as the relationship between Elphaba and Glinda evolves in complicated ways. As we saw in the first film, the green-hued outsider and the pink-clad popular girl wouldn’t seem to have much in common, but they truly saw each other as no one else ever had. The way they locked eyes wordlessly on the dance floor was unexpectedly stirring. And because part one laid the groundwork so convincingly, the fact that their bond breaks in part two is that much more meaningful.
Previously, on “Wicked”: Erivo’s Elphaba flew off to the skies on her broomstick, singing the soaring “Defying Gravity,” which marks the end of act one of the stage production. (Winnie Holzman & Dana Fox once again wrote the screenplay, based on Holzman’s musical book and Gregory Maguire’s novel.) During her absence from Oz, Glinda’s reign of goodness has taken full effect. It’s all colorful and joyful, but, once again, discerning actual lyrics in the big ensemble numbers can be a challenge. The giddiness Glinda exudes when Madame Morrible (Michelle Yeoh) delivers the bubble that becomes her signature form of transportation is a delight, and a great example of Grande’s impeccable comic timing and infectious energy. The soft pinks and creams of her Art Deco penthouse suggest the unbothered ethos she’s cultivated.
Glinda has told herself she’s doing the right thing by hitching that bubble to the Wizard (Jeff Goldblum, entertainingly unctuous again), despite his obviously authoritarian intentions. This much is clear even before he sings “Wonderful,” a razzle-dazzle ditty about how it feels good to feel good, truth be damned. While the character of the Wizard of Oz has been around for over a century, watching a populace succumb to a huckster sure hits differently these days. And a flashback to a childhood birthday party (where Scarlett Spears plays the young Galinda in a perfect bit of casting) reveals she’s always been a bit of a fraud herself, but has fudged that fact with her unstoppable, try-hard attitude.
Jonathan Bailey feels underused here as Prince Fiyero—let the man show off his musical theater chops!—but he conveys a lot through the slightest shift in his facial expression to reveal his skepticism about marrying Glinda and becoming a high-profile figure in her increasingly powerful platform. (The floral explosion of their spectacular wedding ceremony reflects Chu’s mastery of scale.) Fiyero reminds Glinda that they know the true Elphaba, not the vilified figure she’s become.
How Glinda and Elphaba strive to salvage their friendship while also being pulled apart by society’s expectations provides the film’s tension and spine. Elphaba figures if everyone assumes she’s wicked, she may as well lean into that. The song in which she comes to that realization, “No Good Deed,” is truly a showstopper: an excellent showcase for Erivo’s powerhouse vocals and an impressive visual set piece. Meanwhile, Glinda’s big solo number, “The Girl in the Bubble”—one of two new tunes veteran composer Stephen Schwartz wrote for the movie—gives Grande a chance to dig deep dramatically as her character confronts the choices she’s made. The long, fluid camerawork from Chu’s frequent cinematographer, Alice Brooks, is consistently clever and inventive during this song.
If it sounds like this second half is darker than the first, it is, but it’s also more effective in its consistency of tone. “Wicked” was all fun and games until it wasn’t, and that sudden shift was jarring. In “For Good,” we know from the start that we’re in more serious territory with the deep strings of John Powell’s score as Ozian workers build the Yellow Brick Road. Along those lines, much of this second film focuses on introducing beloved characters and familiar images from the original “Wizard of Oz.” So if you’re into the lore, there are goodies in store for you. (Although casting an actor with the stature of Colman Domingo as the voice of the Cowardly Lion, and then only giving him a couple of lines of dialogue, is a shameful waste.)
Still, what you’ll remember is the way you’ll feel at the end, with the duet that gives the film its title. Erivo and Grande find just the right amount of tenderness and sadness with “For Good,” and that bond between them shines bright once more. Poignant and intimate, it’s a legitimate tearjerker. Bring tissues.
