The next incorporates spoilers from the film “Wicked: For Good.”
In a means, “Wicked: For Good” is a companion movie to “The Wizard of Oz,” imagining what was actually taking place when a lady named Dorothy landed in Oz. Directed by Jon M. Chu, the Common sequel references iconography from the 1939 film and infuses these traditional photographs with sudden backstories and deeper meanings. Right here, The Envelope breaks down the 5 key “Wizard of Oz” visuals, as remixed in “Wicked: For Good.”
The yellow brick highway
The yellow brick highway.
(Common Footage)
The opening scene reveals that Dorothy’s highway map to Emerald Metropolis originated as a type of visible propaganda, reinforcing the Wizard’s rule in each nook of Oz. Much more heartbreaking is who constructs the highway itself: “The captured animals are now being forced to work slave labor,” stated Winnie Holzman, who wrote the screenplay with Dana Fox. “The road being built in this corrupt, cruel way was a natural outgrowth of everything set up in the first movie. We’re telling the audience right away, ‘We explore heavy themes in our story.’”
The animals are chained to an automatic automobile that lays the yellow bricks, made by the Munchkins. “We took all the color out of Munchkinland, who’ve lost all their colors in this process of building this oppressive symbol,” stated manufacturing designer Nathan Crowley. The highway is paired with 1,000,000 yellow tulips planted by farmer Mark Eves. “They bloomed so beautifully, they just seduce you,” stated Crowley, “just like the Wizard does.”
‘No Place Like Home’ 
A rendering of Elphaba’s touring go well with, which she sports activities through the “No Place Like Home” quantity.
(Common Footage)
In “The Wizard of Oz,” Dorothy chants the phrase and clicks her heels to lastly return to Kansas. The road is within the stage present as a sarcastic reference, however “Wicked: For Good” redefines its that means: When Elphaba sees animals fleeing Ozvia a secret passageway, she repeats the phrase with urgency, asking them to combat for his or her dwelling, even because it’s rejecting them — one thing she herself understands.
The galvanizing anthem, written for the movie by Stephen Schwartz, was a technical and emotional feat. “Cynthia [Erivo] is delivering this rallying cry that’s new and important and needs to earn its place in the movie, but she’s acting against empty plates,” stated editor Myron Kerstein, because the animals have been created in postproduction. “And right when you believe she’s convinced them, that end-of-the-song applause moment is undercut by someone who blames Elphaba. We had to honor the darkness of where we’re ending up: a person is trying to help her community, but they’ve all turned against her.”
Ruby slippers 
Dorothy’s tornado-tossed home are among the many acquainted photographs from “The Wizard of Oz” you’ll see in “Wicked: For Good” — however her ruby slippers are solely alluded to, fairly than proven.
(Giles Keyte / Common Footage)
The 1939 film sees Dorothy sporting the Depraved Witch of the East’s ruby slippers. “Wicked: For Good” options silver heels — a nod to L. Frank Baum’s authentic novel — however alludes to the purple sneakers when Nessarose begs to revisit that high-flying night time on the Ozdust Ballroom. Elphaba utters a spell that surrounds her sister’s ft with a purple glow, and all of a sudden, she’s hovering midair.
“You see Nessarose’s happiness, even if it quickly wanes,” stated Holzman of the scene, which differs from the stage present. “That’s why Elphaba wants the shoes back from Dorothy: It’s a time she pleased her sister, and she wants more than the horrible memory of how they parted.”
Costume designer Paul Tazewell included further “Wizard of Oz” footwear references, like Nessarose’s Ozian striped socks and Dorothy’s signature socks. “It’s a visual of innocence for this girl to wear these grown-up shoes with a heel, and then pair them with these youthful bobby socks,” he defined of Dorothy. “They’re light blue, just like her gingham dress.”
Glinda’s bubble 
Coloration diagram of Glinda’s bubble.
(Common Footage)
Glinda’s “Wizard of Oz” entrance is spellbinding, as she descends in a floating bubble. “Wicked” divulges that the Wizard commissioned the automobile to idiot Ozians that, like Elphaba, Glinda is airborne, regardless of her magical deficiencies. Crowley crafted the machine to imitate the Wizard’s watch-like mechanisms, in addition to the ornate automobiles of a real-life monarch. “We made a Marie Antoinette carriage that could fly,” he stated. “The pink silks, bronze golds and the upholstery, it all suits Glinda. And the bubble becomes a hot-air balloon — the Wizard’s technology.”
Tazewell bolstered the “Glinda the Good” picture by dressing Ariana Grande in a traditional princess robe, encrusted with crystals and glass beads for an iridescent end and lined in tulle and organza for a lighter-than-air high quality. Add in a bubble-covered crown and earrings, plus a shiny prop wand? “It’s a uniform that’s given to her to create the propagandist view of goodness and solidify her as an icon,” stated Tazewell.
The bucket of water 
In “Wicked: For Good,” Cynthia Erivo’s Elphaba has been renamed the Depraved Witch of the West — and rumors about methods to dispatch her have begun to unfold.
(Common Footage)
The 1939 film reveals Dorothy melting the Depraved Witch by dousing her in water. “[‘Wicked’] opens on a crime scene where someone was murdered, and the weapon is that bucket of water,” stated Holzman. In “Wicked: For Good,” “Elphaba knows there’s a ridiculous lie spreading that water will melt her, and people are believing it and hunting her down with buckets of water in their hands, as if they were pistols or knives.”
Surprisingly, Elphaba fills the bucket up herself, to faux her personal demise. After a ultimate goodbye, Glinda hides away and weeps whereas watching Dorothy soften Elphaba — a sequence proven solely in shadow, by way of the crack of a closet door.
“We’re witnessing this iconic moment from another point of view — this excruciating moment where Glinda has to witness this murder — and we wanted to treat it with gravitas,” stated Kerstein. “I love that it feels like it’s happening in real time, and it feels fleeting. It’s tragic, elegant and beautiful at the same time.”
