While watching Jon M. Chu’s “Wicked: For Good” last week, I found myself thinking about David Lynch, a director with a style that’s, well, quite different. This comparison came up while watching Alexandre Philippe’s impressive documentary “Lynch/Oz” from 2022, which dives into how Lynch was, surprisingly, influenced by “The Wizard of Oz,” a classic in the realm of fantasy films.
Philippe’s documentary features a snippet from a 2001 Q&A where Lynch admits, “There’s not a day that goes by that I don’t think about The Wizard of Oz.”
Fairyland Logic
That revelation makes sense, given how much “Oz” weaves into his films. For instance, the Good Witch Glinda appears in “Wild at Heart,” and the dreamlike suburban scenes in “Blue Velvet” create a blend of fairyland and underworld themes. Lynch embraces this duality. In a way, he’s a Buddhist; he believes in a balance where good and evil coexist. Both forces are real and impactful in his universe. When darkness intrudes on light, it might lead to tragedy, but it’s merely part of a larger narrative. Much like Dorothy, Lynch’s characters often trek into unfamiliar, unpredictable lands. They’re certainly “not in Kansas anymore.”
“The Wizard of Oz” is compelling—it’s a film that captures the essence of fairyland like no other. It channels the fairy tales of Tolkien, Lewis Carroll, and George MacDonald, drawing viewers into a world that feels, paradoxically, more real than reality itself. Here, even the most menacing evil can be confronted with straightforward moral lessons.
As GK Chesterton famously stated:
Fairy tales do not give children the first idea of bogey. What fairy tales give is a clear idea of losing to one.
Very Good
Both “Wicked” and its sequel challenge this comforting notion, leaning towards something more complex and, yes, adult. Rather than portraying good and evil as straightforward concepts to be recognized and vanquished, the narrative explores how those in power twist these labels for their own ends. The traditional heroes and villains switch roles: a once-great wizard is a tyrant, Glinda emerges as self-absorbed, and Dorothy becomes an unsuspecting pawn in a corrupt system. Meanwhile, Elphaba—the so-called Wicked Witch—is recast as a sympathetic figure, an underdog whose tragic backstory serves to unite Oz through animosity.
“I think Elphaba embodies Milton’s Lucifer—she’s an eternal rebel on a tragic mission to topple the moral hierarchy. But rather than depicting this rebellion against a domineering father figure as a futile struggle, “Wicked” frames it as a valid response to systemic cruelty.
The Witch’s Path?
The sequel, “Wicked: For Good,” extends these themes. If the first part represents awakening and radicalization, the new installment focuses on the cost of compromising with an unethical system, laying bare the despair that follows such concessions.
This brings a twist to the film’s title. “Wicked: For Good” raises critical questions. Once people recognize the world’s truths, returning to ignorance becomes a sacrifice of self. They’ve “changed for the better” but can no longer revert to complacency.
It’s interesting to ponder why the “Wicked” series has garnered such monumental success. The original novel by Gregory Maguire sold millions of copies, and the stage adaptation snagged multiple Tony Awards. The first movie raked in vast profits, with the sequel anticipated to do even better.
Maybe there’s a connection to how Wicca and Paganism have entered mainstream conversations. In the era of #WitchTok, where self-identified witches share curses and gain substantial online traction, narratives like “Wicked” resonate. They tell enchanting tales of magic and rebellion against authority.
Bittersweet Morality
The allure of witchcraft lingers in our supposedly enlightened society. For many young women, it represents a reclaiming of agency that patriarchal structures often deny. There’s a strong sentiment that witchcraft is an empowering choice.
Think of the unsettling visuals in Robert Eggers’ 2015 film, “The Witches,” where a cult sacrifices infants and seduces teens, harnessing devilish powers.
“Wicked” refers to this transformational strength. In the sequel, the protagonist grapples with despair, abandoning the political fight for freedom. Yet, the narrative implies that resisting such a corrupt system is a more honorable path than acquiescing.
Ultimately, these films impart a bittersweet reality. Society often seeks scapegoats, suggesting that escaping the foundational lies we build upon is a complex endeavor. A new civic myth could be established—a shift to avoid victimization, often instigated by those in power. The witches play a pivotal role in this upheaval, bringing change to Oz.
Yet, because “Wicked” blurs the lines between good and evil—accepting that real malevolence exists—its characters navigate a morally ambiguous space, primarily defining themselves in relation to power dynamics. The world grows tyrannical and ethically unstable.
Sad Truth
This perspective diverges sharply from the Oz that David Lynch admired as vital for understanding existence. Modern narratives about Oz struggle to recapture the original’s integrity. Subsequent adaptations, like the 1985 “Return to Oz,” took a darker approach, while 2013’s “Oz: The Great and Powerful” tried to mirror the original’s tone but veered into themes of deceit.
“Wicked” fits with this current trend of complicating and redefining good versus evil. From “Frozen” to “Game of Thrones,” contemporary stories often depict morally complex worlds where bravery is underappreciated and rebellion against authority is celebrated.
It’s fascinating, really. Viewing childhood stories through adult lenses can bring depth to their enjoyment. Even those outside the target audience might find them compelling—after all, they’re well-crafted and engaging, particularly for those with a theater background.
Yet, the popularity of these new interpretations raises questions when weighed against the clarity and beauty of the originals. In this light, it’s a little disheartening. Finding a true fairyland feels increasingly elusive; most of us just tread the underworld.
