The world of cinema is often driven by audience expectations, particularly when it comes to adaptations of well-loved classics. This has been acutely evident in the case of Jon M. Chu’s latest film, Wicked, which has stirred up considerable debate over its aesthetic choices, notably its color grading. In a conversation with The Globe and Mail, Chu reflected on the creative decisions that shaped his depiction of the Land of Oz. His vision deviates from the vibrant, technicolor style famously employed in the 1939 classic, The Wizard of Oz, leading some fans to express disappointment. This raises an interesting dialogue about the evolving relationship between film, audience perceptions, and nostalgic aesthetic standards.
Chu’s primary objective was to create an immersive experience rather than a mere visual spectacle. He aimed to bring authenticity to the setting, ensuring that Oz feels like a tangible, lived-in world. “If it was a dream in someone’s mind,” he explained, “then the real relationships and the stakes that these two girls are going through wouldn’t feel real.” Chu’s statement encapsulates a fundamental theme present in the film—it’s not just about aesthetics but about the emotional weight carried by the characters. This choice to present a more ‘realistic’ Oz reflects a broader trend in contemporary filmmaking, where emotional authenticity often prevails over visual allure.
Emphasizing Texture Over Plasticity
One of the most significant departures from the original film involves the texture of the imagery used. Chu noted his desire to portray the ‘wear and tear’ of the fantastical land, which contrasts sharply with the highly polished visual style of past adaptations. By depicting Oz in this manner, the director underscores the gritty realities faced by the central characters, Elphaba and Glinda. “I want to feel the dirt. I want to feel the wear and tear of it. And that means it’s not plastic,” Chu emphasized. This approach reframes the narrative, suggesting that the emotional journeys of the characters are even more impactful when set against a backdrop that feels fundamentally real.
As with many artistic choices in cinema, reactions to Chu’s aesthetic have varied widely. While there has been pushback from certain fans on social media regarding what they perceive as “drab” and “desaturated” visuals, others have come to the film’s defense, embracing the fresh take on a beloved story. Critics on platforms like X have pointed to the use of backlighting and alternate color grading as a deliberate stylistic choice rather than a flaw. This divide is emblematic of the challenge filmmakers face today: how to satisfy a diverse audience with varied expectations rooted in nostalgia while attempting to carve out a new creative identity.
Technicolor’s Modern Limitations
Another pivotal debate in this context is the practicality of using technicolor today. The process is considered outdated, difficult to replicate, and cost-prohibitive, thereby influencing the industry’s shift towards modern digital techniques. Chu’s decision to eschew technicolor aligns with the inherent challenges filmmakers face in navigating a changing landscape. His emphasis on the natural environment and the organic light of the sun plays into a broader filmic trend of grounding stories in realism, providing viewers with a visual feast that matches the narrative’s emotional depth.
Box Office Triumph Amidst Controversy
Despite—or perhaps because of—the controversy surrounding the film’s visual style, Wicked has achieved phenomenal box office success. The film broke numerous records, including the best opening for a non-sequel film this year, indicating that many audiences are willing to embrace Chu’s vision. Notably, the opening weekend garnered a staggering $205 million, marking the best performance for a pre-Thanksgiving release in over a decade. This success, paired with the film’s unique storytelling perspective—based on Gregory Maguire’s beloved novel—confirms that certain artistic choices can resonate deeply with audiences, opening the door for complex interpretations and rich discussions.
The debate surrounding Wicked’s color grading reflects broader themes in cinema: the interplay between nostalgia and innovation, emotional authenticity versus visual spectacle, and the evolving standards of cinematic aesthetics. Jon M. Chu’s approach serves as both a tribute to and a departure from the past, paving the way for a new era of storytelling in the magical world of Oz.