WICKED: A SUBLIME DISPLAY OF ETERNAL EXTRAGAVANCE AND IMAGINATIVE CHIMERA🌈🔮🧙🏻‍♂️

Embroidering imagination and creation onto the silver screen is a divine task of delicious challenge and inflated points of view. However, from time to time, in a quite lucky generation, it is performed with geometric accuracy and intensely colored assay. This film soars, in every way that a film can. Color, cinematography, theatrics, and waterfall splashes of resplendent animation are all collected in one basket. While it is puffed with majestic imagery and kaleidoscopic telepathy, it is regulated by these rules of the cosmological movie rules with a sovereign purpose. The movie WICKED is just that and then some. 

Each scene in the film is snapped symmetrically into place from right down into Gregory Maguire’s novel entitled “Wicked: The Life and Times of the Wicked Witch of the West.” (1995) Consequently, this film is genetically connected to L. Frank’s Baum’s Wizard of Oz novel and the original 1939 film of the same subject; however, in this magical adaptation, we learn of the origins of the wicked witch which, astonishingly, is not a dark story at all; on the contrary, it is quite a sad one.

Color appears to be a sacred emblem of character and dignity. For example, blond vs green; black vs. light. The production is a healthy papyrus of extravagant animation, symphony, lighting, and acoustic imagination never seen on the silver screen before. Glinda and Elphaba meet at a sorceress university; one is the product of infidelity; the other is the impenetrable column of artistic perfection. While both are from different globes; they are united by passionate curiosity and inquisitive astuteness. Each piece of scenery with both is punctuated by intense devotion and charismatic devotion to one another. As time for them flies them to other purposes and artistic fulfillments, their friendship inevitably sparkles. As it grows, so does the films dynamics and color; it ascends to the top senses of the human perception of glassy imagery and sublime activity. Costumes, dress, scenery, color, emotion, and an extremely regulated atmosphere of uncertainty sprinkled with gracious hope and precious wonder; it keeps the viewer entranced with little effort. Two of the main characters, Elphaba (played by Cynthia Erivo) and Glinda, (played by Ariana Grande). Both performances by these actors are sinless; you become instantly attracted to the both of them simultaneously. The conscious observation between good and evil is scented with mystery and pulsated clique. Born out of wedlock, Elphaba is struggling with her magical world and struggling to procure a sense of acceptance and belonging; Glinda, on the other hand, is pretty, glittering, and commands the attention of her admirers with ease. Grande’s personality is centrally fitting for her character, talent, beauty, and resplendent sharpness that amalgamate her qualities into an instantly likeable character. The bright atmosphere of the movie gets more vibrant with each scene as even Elphaba brings a pall of dark, delicious beauty entirely created on her own; green is the new color of eternity and perfection. Although the struggle has a sad and ugly outcome at the end; nevertheless, both witches capture the audience with their nets of wisdom and charm unprecedented in the fantasy genre. Munificence is at a struggle from each of them to each other; it is obviously felt, but not quite up for the taking as Elphaba gradually and victoriously realizes her gifts. When she reaches her maturity in full, the film transforms into a glistening scene of tameless independence and self-worth, something Elphaba desperately needs.

The ingredients in this adaptation are lovely. Acceptance, concern, beauty, ugliness, choices, evil, good, all of these are properly addressed and, in some magical presentation, are merrily endorsed by the audience.  While other characters in the film enhance and influence Elphaba to burst forth, she gives birth to her instincts that ultimately even surpass the expectations of her admirers and her mockers. She is a splendid example of the human experiment of individuality and personal but clever discord.

For music and dance lovers, the film is rich. Each number is choreographed perfectly, especially Elphaba’s performance at the end of the film; it will leave you breathless and cheering, sadly for more than it has to offer. Luckily for the devoted, a second installment is yet to come. It will, hopefully, be as lavish and ingrained as the original prequel.

© 2025, Mark Grago. All rights reserved.