Oh, by the way, this popular show forms the basis of Wicked — a word that can in no way be termed popular when one is talking about the 2003 stage musical. Aimed at over 65 million viewers, it is notable that such a show was popular in addressing the issues of friendship between women, as well as the fight against discrimination at all proving the popularity of the show, Broadway earned $ 1.7 billion, and around the world – 6.
For many years now, producers have been in no particular hurry to bring the goldmine property to the screen, and their patience now pays off handsomely in Jon M. Chu’s eye-popping movie version of the stage show which, while it layers on the dazzling technicolor while paying its tribute to the pre-textbook naturalism of The Golden Age of MGM Technicolor musicals.
Universal needs to know it has a behemoth ready-made fan base from two decades of superfans who have taken to calling themselves everything from “The Ozians” to “Wickhards.” And I dare say they would jump up and cheer after sober songs when ever the release hits the multiplex – it’s only a matter of time for sing-along-and-laughs screenings – and two instances of extra cameos toward the end will conclusively bring every head to a pop. The filmmakers know very well what their target market desires and they provide, indeed.
The first complaint that was raised on the show’s arrival was that the plots were bloated with too much content. Because, when it was revealed that the film was to be a two-part affair (Part II is planned for November 2025), millions responded: ‘Why?’ All told, at two hours and 40 minutes in length, Part 1 can hardly be criticized for being slim on content. (Sorry.) But the expansion of the screen benefits the material, which gets more freedom, revealing its values mostly in terms of character appeal and tenderness.
If you were too uncomfortable with all that pink frills in Wicked on stage or found it too light headed and too preachy in how otherness is quickly forgotten when fascism is on the horizon, then you «probably» do the same for the film adaptation.
That the personas are well cast — Ariana Grande wicked as the provincially talentless student of sorcery who is set to grow into Glinda, or the Good Witch of the North, over in the Emerald City; and Cynthia Erivo as Elphaba, on track to become the Wicked Witch of the West — is the movie’s trump card.
Their singing voices are pleasant and powerful and flexible to an extent many of us may have come to assume we should not expect any longer because of so many film musicals that provided decent voices and thenReminder: Please use proper headings – at least three for this assignment, not just one.
Each of them has a background in musical theater, which means they are well-equipped to maintain the so-called book, transitioning easily from dialogue to song. They merge one part into the other, and there is none of that uncomfortable beating around that bush when some stars half recede into the background, then half step forward for a performance.
Contemporary movie musicals often get it wrong in terms of suspension of disbelief but Grande and, much more importantly, Erivo (who offers her finest screen performance to this point, making Elphaba the sore, beating heart of the movie with an act of glorious naked and complex emotional sensitivity) take us into the story and into the perspective of that story’s characters in a manner that erases the inherently fake nature of the endeavor.
That the personas are well cast — Ariana Grande as the provincially talentless student of sorcery who is set to grow into Glinda, or the Good Witch of the North, over in the Emerald City; and Cynthia Erivo as Elphaba, on track to become the Wicked Witch of the West — is the movie’s trump card.
Their singing voices are pleasant and powerful and flexible to an extent many of us may have come to assume we should not expect any longer because of so many film musicals that provided decent voices and thenReminder: Please use proper headings – at least three for this assignment, not just one.
Grande and Erivo invest Stephen Schwartz’s comedy, contemplation, and celebration numbers, casual and triumphant songs alike, with urgency.
They assist us to believe in the true nature of the musical idea that these character people are singing because they can no longer speak as big as the songs they are singing that are not lip synching the overproduced lyrics that somebody polished for weeks in a recording studio. This is very beneficial in adopting a live—on—set recording of the songs wherever possible.
Each of them has a background in musical theater, which means they are well-equipped to maintain the so-called book, transitioning easily from dialogue to song. They merge one part into the other, and there is none of that uncomfortable beating around that bush when some stars half recede into the background, then half step forward for a performance.
Contemporary movie musicals often get it wrong in terms of suspension of disbelief but Grande and, much more importantly, Erivo (who offers her finest screen performance to this point, making Elphaba the sore, beating heart of the movie with an act of glorious naked and complex emotional sensitivity) take us into the story and into the perspective of that story’s characters in a manner that erases the inherently fake nature of the endeavor.
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