The last time we saw anything Wizard of Oz related on the cinematic stage was more than a decade ago, with Sam Raimi’s often overlooked prequel effort, ‘Oz the Great and Powerful’. What folks have managed to remember about that one, they usually recall between groans and mumble through palmed faces.

That was a film that was, and still is, criticized for lackluster special effects, a suspect cast, and an adhesion to a corny tone that bled into the film’s visuals, as well as impacted the screenplay. Raimi, in accordance with his cinematic character, preferred kinetic camera movements and sharp colors and lighting over other such worries about tonal cohesion and character, at least in that instance.

What’s become odd in retrospect, factoring in the release of the topic at hand, ‘Wicked’, is that the new film struggles with the same issue in a slightly different way. Sure, Wicked’s computer generated elements are cleaner, and much glossier, than anything the world of Oz had to offer in 2013.

But the new film doesn’t just utilize those effects — it relies on them. Wicked has become yet another unintentional bastion for slapping CGI on every single scene, and every little thing. Impressive practical sets here are washed out with brown and grey digital overlays; the sunshine has lost the colorful aura which defines it, and the moon emits only a flat blue hue.

Where is the true middle ground for bringing Oz to life on the visual front, then? That still isn’t clear, but in the case of the newer film, we’ve taken a step in the right direction with many new merits.

The razzle-dazzle that’s Jon M. Chu’s bread and butter is on glorious display in “Wicked,” the big-screen version of the beloved Broadway musical.  

When it’s all about the spectacle of big, splashy production numbers, this prequel to “The Wizard of Oz” is thrilling, whether we’re in Munchkinland, the Emerald City or the campus of Shiz University, where a young Wicked Witch of the West and Glinda the Good Witch of the North first cross paths. As we’ve seen from the director’s previous films including “Crazy Rich Asians” and “In the Heights,” Chu is uniquely adept at presenting an enormous song-and-dance extravaganza without getting lost in it. His sense of pacing and perspective draw us in and center us within the swirling fantasy. 

It helps greatly that he has deeply talented stars in Cynthia Erivo and Ariana Grande: magnetic multi-hyphenates who can meet every physical and emotional challenge of these iconic characters. Following in the footsteps of Idina Menzel and Kristin Chenoweth would seem like a daunting task, but Erivo and Grande bring their own vocal power and dramatic interpretation to the roles of Elphaba and Glinda, respectively. You truly feel the friendship between these opposites, particularly in one beautiful, wordless dance sequence where they forge their unlikely bond, which is moving in its understatement. That’s the foundation of this story, so it’s crucial that we know their connection is true for its destruction to be meaningful. 

Far less effective is the way Chu, working from a script by Winnie Holzman and Dana Fox, based on the novel by Gregory Maguire, wedges in the movie’s heavier themes of authoritarianism. Yes, they are baked into the story: We know from watching 1939’s “The Wizard of Oz” countless times that the wizard is a con artist who rules by fear. His deception is literally one of smoke and mirrors. That’s all in the source material of the “Wicked” stage production, as well, for which Holzman wrote the book and Stephen Schwartz wrote the music and lyrics. Here, in film form, the tone swings awkwardly between upbeat wonder and dark oppression. This is a world in which minorities are hunted, placed in cages and prevented from speaking, where a charismatic leader (a playfully evil Jeff Goldblum) persecutes a woman of color. It is not subtle, and it feels all-too relevant to our times, despite originating decades ago. It also drags down the energy of this epic tale. 

And yet, overstuffed as the film is at 2 hours and 40 minutes, this is only part one: “Wicked” ends where the intermission occurs in the stage show, with part two coming in November 2025. It’s a lot to ask of an audience. Still, people who love this story and these characters will be delighted, and there’s much here for people who aren’t familiar with the musical but are looking for a cinematic escape around the holidays. 

“Wicked” begins with Grande’s Glinda descending majestically into Munchkinland to inform her enthusiastic fans that the rumors are true: The witch really is dead. Then it flashes back to how she and the green-hued Elphaba (the Wicked Witch’s first name) became unlikely allies in college. Elphaba has always been bullied and ostracized because of the color of her skin; Glinda—or Galinda, as she’s known at this point—is a pretty, pampered mean girl who’s always gotten her way. (Bowen Yang is a hoot as one of her loyal sycophants.) 

But once they’re forced to room together, they eventually realize, to their surprise, that they genuinely see each other in a way no one ever has before. Galinda’s makeover anthem “Popular”—one of the most popular songs from the show—is among the film’s highlights, and a great example of the technical prowess “Wicked” offers. The costume design from Paul Tazewell (“West Side Story”) and production design from longtime Christopher Nolan collaborator Nathan Crowley are exquisite throughout but especially here. Alice Brooks’ cinematography is consistently wondrous, but her use of hot pink lighting as Galinda’s at the height of her power is really evocative.  

Chu’s usual choreographer, Christopher Scott, delivers again with vibrant, inspired moves, particularly in the elaborate “Dancing Through Life,” which takes place in the school’s rotating, multilevel library. “Bridgerton” star Jonathan Bailey gets a chance to show off his musical theater background here, and he’s terrifically charming as the glib Prince Fiyero, the object of both Elphaba and Galinda’s romantic interests. Michelle Yeoh brings elegance and just a hint of danger to her role as Madame Morrible, the university’s sorcery professor. And Peter Dinklage lends gravitas as the resonant voice of Dr. Dillamond, a goat instructor who, like other talking animals in Oz, finds himself increasingly in peril. 

But it’s that connection between Erivo and Grande that gives the film its emotional heft. Erivo does do much with her eyes to convey Elphaba’s sadness and loneliness and, eventually, her hope and determination. There’s a directness about her screen presence that’s immediate and engaging, and of course she can sing the hell out of these demanding songs. Grande meets her note for note and once again displays her comic chops, but it’s the little choices that make her portrayal of the perfect Galinda feel human: a jerky perkiness that’s slightly dorky. The blonde tresses and array of pink dresses scream confidence, but deep down she’s a try-hard whose desire to be liked is her driving motivation. 

As undeniably crowd-pleasing as “Wicked” is in its big moments, these smaller and more intimate details are just as magical. 

The Malayalam film Kishkindha Kaandam, directed by Dinjith Ayyathan, hit theaters on September 12, 2024, and quickly became a box office success, earning over ₹70 crore on a modest ₹7 crore budget. With a stellar cast including Asif Ali, Aparna Balamurali, and Vijayaraghavan, this movie has now begun streaming on OTT platform Disney plus Hotstar. Let’s dive into the Kishkindha Kaandam Movie Review to see what makes it stand out.

Plot Overview
Set in a village bordering a forest, the story revolves around Appu Pillai (Vijayaraghavan), a retired army officer living with his son Ajay Chandra (Asif Ali), daughter-in-law Praveena (Vaishnavi Raj), and grandson Chachu (Aarav). Tragedy strikes when Praveena passes away, and Chachu mysteriously disappears.

While the investigation into Chachu’s disappearance forms a crucial part of the narrative, the police station instructs Appu to surrender his licensed gun due to the upcoming elections. However, the gun has been missing for a long time, complicating matters further. The police warn that even a single missing bullet could lead to serious consequences.

As Ajay remarries Aparna (Aparna Balamurali), she moves into the family home and learns that Appu suffers from memory loss. Aparna grows suspicious of Appu’s behavior, particularly his reluctance to let anyone enter his room and his habit of burning items in a secluded area. Her investigation into Chachu’s disappearance and the missing gun forms the crux of the film.

Analysis
Kishkindha Kaandam revolves around three key characters: the father, the son, and the daughter-in-law. Aparna’s desire to find Chachu and bring happiness back to her family drives the first half of the movie. As she uncovers clues linking Appu to Chachu’s disappearance and the missing gun, the tension escalates in the second half.

The narrative cleverly intertwines memory loss, a missing gun, and a child’s disappearance, keeping the audience guessing until the very end. The film’s strength lies in its minimalist approach, focusing on a small cast and localized settings. The title, Kishkindha Kaandam, reflects the village’s unique connection to monkeys, adding a symbolic layer to the plot.

Director Dinjith Ayyathan skillfully maintains suspense without relying on exaggerated drama, keeping the story grounded in realism. This approach makes the twists and turns feel natural and engaging.

Performances
Vijayaraghavan delivers a standout performance as the enigmatic and suspicious Appu Pillai. His portrayal of a man struggling with memory loss while harboring secrets is both compelling and nuanced. Asif Ali shines as Ajay, caught between family responsibilities and professional duties. Aparna Balamurali impresses with her natural acting, convincingly portraying a new bride navigating the complexities of her new family while trying to uncover the truth.

Technical Aspects
Cinematography: Ramesh’s visuals beautifully capture the lush, forested village, enhancing the story’s atmosphere.
Music: Mujeeb Majeed’s haunting background score elevates the suspense.
Editing: Suraj’s crisp editing ensures a tight narrative, particularly in the second half.
Malayalam cinema continues its tradition of seamlessly integrating stories with authentic locations, making the events on screen feel believable and immersive.

Verdict
Kishkindha Kaandam is a captivating mystery thriller with strong performances, a well-crafted screenplay, and stunning visuals. It’s a testament to the power of storytelling and naturalistic filmmaking. This is a movie that can be enjoyed with the whole family.