Review | I’m not sure if I’ve changed for the better, but part two of Wicked changed me for good

Photo courtesy of Universal Pictures

Already teed up for success with incredible casting and strong music, “Wicked: For Good” offers an incredible theatrical experience, but falls into many of the same pitfalls from the stage production it’s adapting.

Just one year after Cynthia Erivo belted her way into the hearts of millions, “Wicked: For Good” picks up right where its predecessor with Elphaba stealing Oz’s sacred spellbook, the Grimmerie, and setting off to save the animals of Oz. As Elphaba is pushed into exile and Glinda rises the ranks of power in Oz, “Wicked: For Good” follows their continued relationship as rifts grow between them.

Like many, the first “Wicked” film swept me into its world of frenetic musical sequences and gorgeous set design. Although not without its flaws, I found the film to work as an emotional step in Erivo’s perhaps not-so-wicked witch Elphaba’s journey of self-discovery. 

Beyond that, the cultural phenomenon surrounding “Wicked” was, and is, infectious. And while much of that same energy continues in “Wicked: For Good,” the slow pacing and somber tone have led to a far more mixed reception.

For fans of the Broadway musical, this comes as no surprise, as the musical’s second half has always paled in comparison to the first. By splitting it into separate films, the weaknesses of the second half become even more glaring.. 

While it’s easy to see how the franchise could have benefited from combining both films into one, adapting such a grand story to film is a daunting task. And given the combined runtime sits at five hours, a complete Wicked would be bloated to say the least. 

In this sense, “Wicked: For Good” succeeds by allowing more time for the story to breathe. Enabling a bit more time to reflect on the relationship between Elphaba and Glinda (Ariana Grande), the build-up leads to an incredibly satisfying finale. Picking up serious steam with Elphaba’s lament, “No Good Deed,” the last 45 minutes of the film manage to capture a lot of the magic that has made the musical such a cultural staple for the past two decades. As expected, “For Good” — the film’s closing duet between Erivo and Grande — left me melting into a mushy puddle of tears

And through it all, these performances make “Wicked: For Good” consistently wonderful. While Erivo continues to prove she has one of the strongest voices in the business, Grande takes much of the spotlight here. The second act provides Glinda with a lot more depth, and Grande gives one of the best performances of the year as she walks the tightrope between Glinda’s bubbly personality and her constant heartbreak. 

Meanwhile, even when the film falters, any issues seemed to dissipate when Erivo was belting. The dynamic between both actresses is nothing short of magic — both on and off the screen — and if these movies are remembered for nothing else, this chemistry will almost undoubtedly stand the test of time.

Beyond this, the supporting cast is consistently engaging. Recently voted People Magazine’s sexiest man alive, Jonathan Bailey’s Fiyero continues to be a magnetic presence. Even performances that were somewhat lackluster previously, such as Ethan Slater’s Boq or Jeff Goldblum’s Wizard, shine through with some standout moments. The same, unfortunately, cannot be said for Michelle Yeoh’s Madame Morrible, whose mediocre singing suffers in comparison to her Broadway veteran and pop star co-stars.

While the top-class craftsmanship continues to transport audiences to Oz through the production and costume design, it’s worth noting that some of the issues with the first film’s cinematography persist. Nothing is quite as egregious as the backlighting turning sexiest man alive Jonathan Bailey into a silhouetted shadow during part one’s “Dancing Through Life,” but the scenes that allow Oz’s vibrant colors to pop are few and far between. Rather, the muted colors and misguided attempts at realism continue to mask some of the film’s otherwise outstanding production value.

Personally, one of the most anticipated aspects of “Wicked: For Good” was the introduction of two original songs written by the show’s original composer, Stephen Schwartz. Cynthia Erivo’s “No Place Like Home” and Ariana Grande’s “Girl in the Bubble” promised to hold space for the inner monologues of both leads in a generally rushed second act. However, both songs feel somewhat one-note and don’t do much to offer anything new to this story. 

“No Place Like Home” particularly feels oddly placed, and with the film cutting the song off right before Erivo gets to belt the final notes, it feels like we were robbed of something truly special. “Girl in the Bubble” similarly falls somewhat flat, but as a number offering a concrete shift into Glinda’s perspective, the sequence felt more emotionally rich and deserving of its inclusion.

In spite of plenty of flaws throughout “Wicked: For Good,” it’s hard to deny how well the film builds to an engaging finale. The electric cast and emotional musical sequences keep the energy of Wicked alive right through the film’s emotionally charged final shot. With a stronger focus on Glinda’s side of the story, Ariana Grande really gets to shine here, and the duo’s performance of “For Good” largely makes the bumps along the (yellow brick) road worthwhile. When all is said and done, “Wicked: For Good” is an imperfect yet satisfying conclusion.