The final part of the Broadway adaptation dances through pacing troubles
“Who can say if I’ve been changed for the better?” That is the common theme trailing throughout the two-film epic Wicked and Wicked: For Good. As Director Jon M. Chu welcomed new viewers and long-time fans to his version of Oz last November, his second act adaptation of the incredibly acclaimed Broadway musical may not soar as high as the first — however the beating heart of friendship and connection makes For Good worthy of its magic. The highly-anticipated sequel — or second act — is still soaked in amazing performances, and pink-and-green, however, For Good fails to rectify the many issues which accompany the stage play’s final act.
For Good welcomes viewers back to Oz with Elphaba (Cynthia Erivo) and Glinda (Ariana Grande), now firmly known as the Wicked Witch of The West and Glinda The Good. The excessive propaganda throughout Oz and the screen shows the two girls at two very different points: While Elphaba continues her journey in exile to save the animals from indentured servitude to the Wizard (Jeff Goldblum), Glinda is now the public-face of the Wizards propaganda and has found a privileged home in Emerald City.
The first 30 minutes of this film struggle to find its footing — little exposition is given to the passage of time and development of our protagonists since the first film, as Chu begins his wicked habit of telling, not showing throughout For Good. Viewers are told Elphaba, nay, the Witch, is heinous and petrifies Oz, yet no time is spent showing the viewer how the time-jump built this wicked reputation. The time between the initial scene depicting the construction of the yellow-brick road (“Every Day More Wicked”) to Glinda speaking to the Munchkins (“Thank Goodness”); is not spent showing viewers how Elphaba has come to be incredibly notorious and feared in Oz, but rather, flies around from scene-to-scene to find its go-point. Unfortunately, Madame Morrible (Michelle Yeoh) is unable to bring down the house with her vocal performances, often dulling most songs she sings.
Given Chu was joined by original Wicked stage-play composer and playwright Stephen Schwartz and Winnie Holzman, For Good should prove itself as a canonically worthy second-parter. “Wonderful” brings both levity and the Wizard (Goldblum) — who is fantastic in this role — now joined by Glinda (Grande) as they attempt to woo Elphaba to their side. Those who enjoyed the power of light song and dance from the first film may be reminded of that here — however this too is fleeting. The two new original songs: “No Place Like Home” and “The Girl in The Bubble” are okay, with the former being the better-sounding (yet its characterization puzzling considering how Elphaba leaves us at the films conclusion). Although, those who were anticipating “The Wicked Witch of The East” may be disappointed sonically due to line cuts — the scene it accompanies will have you on the edge of your seat (and considering Ethan Slater (Boq) for a Best Supporting Actor nod). For Good also has the unfortunate challenge of not only maintaining continuity from the stage play, but it must also align with 1939’s The Wizard of Oz — which it manages to eke around.
Now, on the other side of the rainbow, the second-half of For Good leaves little to be desired. “As Long As You’re Mine” had me feeling wicked, too… Jonathan Bailey is just wonderful and eye-catching as Fiyero and complements Erivo just as greatly in their duet. Those who were eagerly waiting (me) for Erivo’s rendition of “No Good Deed” should be incredibly pleased. And, the titular song “For Good” and its heart-wrenching finale reprise had me, and the Habs-gear adorned guy sitting next to me, teary-eyed and never looking at a door the same way again. The latter half of For Good is much more cogent than the first, with the pacing much more manageable and the songs memorable. Of course, the beating heart of this film is the relationship and soaring voices of Erivo and Grande, who do not disappoint whatsoever from the lofty expectations set out by their spectacular performances in the first part.
Chu, who stated the film was broken into two parts to not cut anything from its source, albeit did not take full advantage of the extra run-time For Good allows to amend parts of the stage-play which originally opened it to mixed critical reviews (seem familiar?). Contrary to my plenty of critiques — I actually really really enjoyed the film and am already planning another-watch as many times as I can drag my boyfriend to Cineplex. As For Good opens I encourage you, dear Argosy reader, to be moved by the power of something as wonderful as song and dance — and give For Good a shot, just don’t think about it too much.