The sequel to “Wicked” titled “Wicked: For Good” is set to hit cinemas in November. This title comes from a powerful duet between Elphaba and Glinda, characters from the “Wicked” Broadway musical, where they sing about how their bond has transformed them positively, or “changed for good.
The phrase you’ve used is quite clear and engaging, but This is a clever play on words, indeed. It’s particularly appropriate because the original “Wicked” (or “Wicked: Part I,” if we’re being precise about the screen title) is a prime example of a genre of Hollywood blockbusters that has gained immense popularity recently. We’re talking about prequels here, stories that delve into the origins of well-known movie antagonists, revealing their initially “good” motives and subsequent, often unintentional, transformation into villains.
A few months back, “Wicked” offered a prequel insight into how the Wicked Witch of the West from “The Wizard of Oz” was once an oppressed outcast. Meanwhile, devotees of “Transformers” flocked to watch “Transformers One”, where it was disclosed that Optimus Prime and Megatron were not always sworn enemies; instead, they were childhood friends while working together in the mines of Cybertron. Recently, “Wicked” shared screen space with “Mufasa: The Lion King“, another story about two once-united figures who eventually part ways, one ascending to rule over the animal kingdom and the other transforming into a formidable foe.
It’s quite remarkable how similar these three significant films, released one after another within a span of merely three months, are. Their story developments often feel like they could be swapped around. The main characters in each film initially share a close bond as friends (or, in the case of Mufasa, brothers by adoption). However, their friendships are severed due to the machinations of power-seeking tyrants; Jeff Goldblum’s character in Wicked, Jon Hamm’s Sentinel Prime in Transformers One, and Mads Mikkelsen’s Kiros in Mufasa.
Unveil the Roots of Conflict.” Additionally, notable characters in all three movies undergo name changes or identity shifts: Glinda from “Transformers One” transforms into simply Glinda; the robot, previously known as D-16, assumes the name Megatron after another significant Transformer; and the lion, initially called Taka, insists on being referred to as Scar.
In Hollywood, prequels aren’t a fresh idea – even “The Godfather Part II” recently marked its 50th anniversary – but traditionally, they have delved into the early lives of heroes rather than antagonists. For instance, the mid-2000s prequels to “The Exorcist,” namely “Dominion: Prequel to the Exorcist” and “Exorcist: The Beginning,” focused on the heroic character’s past, decades before the original film’s events. Similarly, 2013’s “Monsters University” showcased the college years of Mike and Sulley from “Monsters Inc.” – a departure from recent prequels that focus more on villains, as they illustrated how these characters grew closer instead of drifting apart like their modern counterparts.
Similarly, both Captain Kirk and Mr. Spock from the 2009’s Star Trek movie can be seen as embodying a unique blend – a prequel, reboot, and legacyquel combined. In fact, Bumblebee from Transformers served as its last prequel, focusing on the mostly silent yet undeniably heroic Autobot. Recently, Warner Bros. debuted Furiosa: A Mad Max Saga, which is more traditionally a prequel, delving into the story of the well-known warrior from Mad Max: Fury Road.
From a movie critic’s perspective, diving into the backstory of an infamous villain isn’t entirely uncharted territory. The most glaring example might be the Star Wars Prequel Trilogy, delving into Anakin Skywalker’s descent from Jedi Knight to the ominous figure of Darth Vader. However, these prequels didn’t strive to unearth the hidden virtues in this iconic villain or redefine our perceptions of his motivations. If George Lucas aimed for such a shift, it seems the message was lost along the way. Instead, Anakin’s impetuous actions in Attack of the Clones and Revenge of the Sith arguably diminished Vader’s complexity compared to his portrayal in Return of the Jedi.
The Star Wars prequels didn’t tarnish the image of the Jedi by portraying them as somewhat naive or even overly trusting rather than malicious. In contrast, these new prequels not only humanize the villains but also subtly present the heroes in a less favorable light.
As a movie critic, I found myself captivated by the musical “Wicked”. Initially, Galinda, the quintessential mean girl at Shiz University, seems to embody all that is cold-hearted and unforgiving. However, as the story unfolds, she develops an unlikely friendship with Elphaba. The climax of the film presents a turning point: while Elphaba chooses to challenge the Wizard’s deceitful rule, Galinda decides to stay and work alongside him, despite his true nature being unmasked.
Reminiscent of this complex dynamic, Disney’s “Mufasa” presents an intriguing love triangle. Mufasa shares a bond with Sarabi, even though her brother Taka harbors deep affection for her. This romantic entanglement echoes the relationship between Elphaba, Glinda, and Fiyero in “Wicked”, where their connection is tested by external forces vying for their affections.
The reason for multiple sequels or prequels being released so closely in time is a topic up for discussion. The success of the TV show “Better Call Saul” might play a role in this trend. Additionally, current global events could potentially stir curiosity among amateur psychologists about the roots of wickedness.
It appears that after exhausting the legacyquel concept over the past decade, Hollywood realizes they need a fresh approach to maximize their intellectual properties without repeatedly bringing back their veteran stars. Is there any new method left for making more legacyquels at this stage? (By the way: New Line, if you’re interested in my 185-page script idea for Austin Powers; The Grandpa Who Shagged Me, feel free to reach out.)
Prequels like these have an advantage because they can replace familiar characters with younger actors who might extend the franchises for long periods, without requiring high salary payments akin to established stars. For instance, the forthcoming Shrek sequel will likely spend a significant amount on voice talent – far beyond what Disney paid to cast Aaron Pierre and Kelvin Harrison Jr. as young Mufasa and Taka respectively.
2024’s film sensation, “Wicked,” is dominating the global cinema scene, ranking sixth globally and third in the U.S., surpassing films like “Beetlejuice Beetlejuice,” “Twisters,” “Gladiator II,” and “Ghostbusters: Frozen Empire.” However, “Mufasa” has had a modest start at the box office with earnings of $342 million worldwide, and even the critically acclaimed “Transformers One” struggled to make an impact, earning only $130 million globally.
It’s quite likely that the success of “Wicked” and its upcoming sequel may pave the way for additional spin-offs in the near future. However, whether this shift towards villain-focused prequels will be a lasting trend in Hollywood remains to be seen.
12 Forgotten Movie Prequels
Butch and Sundance: The Early Days (1979)
When you achieve immense success with a film, such as the 1969 original “Butch Cassidy and the Sundance Kid” being the top movie of the year, one natural progression is to create a prequel. Thus, the film “Butch and Sundance: The Early Days” was born, offering a glimpse into how our titular characters initially crossed paths. In this rendition, Tom Berenger and William Katt portray Butch and Sundance instead of Paul Newman and Robert Redford. It’s intriguing to ponder if audiences went to see the first movie for the characters or the charisma of actors Newman and Redford. Given that their collaboration in “The Sting” also became a massive hit, while “The Early Days” flopped and marked the end of this series, it seems the latter may have been the case.
Missing in Action 2: The Beginning (1985)
In an unusual move for film production, the prequel to “Missing in Action” (1984) was filmed simultaneously with the original movie. Instead of following the typical pattern of releasing sequels after a successful debut, the producers intended to release them in chronological order. This plan was later changed due to the producers believing that the second film, which depicted Chuck Norris’ character Col. Braddock rescuing American soldiers still imprisoned in Vietnam, would be more appealing and timely with its subject matter about missing POWs.
The strategy proved successful, as the second movie premiered first and became a hit. Later, they released “Missing In Action 2: The Beginning,” which showed Braddock’s earlier experience as a prisoner of war in Vietnam. This sequel was also well-received, but it didn’t generate as much profit as the original film. A third installment, “Braddick: Missing in Action III,” was made, but it only earned around half of what the first movie grossed.
Psycho IV: The Beginning (1990)
Originally produced in 1960, “Psycho” spawned a sequel two decades later due to the film’s enduring popularity and the rise of home video market. Subsequently, they created a third film titled “Bates Motel,” followed by a spinoff. With the franchise starting to wane, they decided to go back in time for a prequel. The prequel, “Psycho IV: The Beginning,” features Anthony Perkins reprising his role as Norman Bates, with young Norman portrayed by Henry Thomas from “E.T.” Unfortunately, this was actually the final chapter for the original “Psycho” series, as it marked Perkins’ last appearances as Norman before his passing a few years later. The remake by Gus Van Sant followed shortly after.
Cruel Intentions 2 (2000)
This division you’ve written is about Amy Adams appearing in “Cruel Intentions 2,” a prequel to the 1999 movie “Cruel Intentions.” Interestingly, some stars are content when their prequels go unnoticed. When the original “Cruel Intentions” turned out to be a success, the studio chose to create a prequel TV series focusing on the characters prior to the film’s events. The pilot was filmed but not picked up for a series, so the producers compiled the available footage into a feature. In this adaptation, Adams portrays Kathryn Merteuil, a role originally played by Sarah Michelle Gellar in the first movie.
Dumb and Dumberer: When Harry Met Lloyd (2003)
1994 was an incredible year for Jim Carrey as he catapulted himself into A-list Hollywood stardom with blockbusters like “Ace Ventura,” “The Mask,” and of course, “Dumb and Dumber.” With such a successful run, it’s no wonder he wasn’t keen on making a sequel to the latter. However, New Line Cinema had other ideas and opted for a prequel instead, casting fresh faces capable of emulating Carrey and Jeff Daniels’ screen personas. This decision led to the creation of “Dumb and Dumberer: When Harry Met Lloyd,” which, in my opinion, might just be the worst prequel ever produced – from the perspective of a die-hard fan, that is!
Carlito’s Way: Rise to Power (2005)
The original movie titled “Carlito’s Way” (1993) was actually inspired by the second novel of Edwin Torres named “After Hours,” not the first as one might expect. However, director Brian De Palma opted to use the title “Carlito’s Way” because Martin Scorsese had previously made a movie titled “After Hours.” So when it came time to produce a prequel for “Carlito’s Way,” based on the first book, a new title was required. Therefore, it was named “Carlito’s Way: Rise to Power,” featuring Jay Hernandez, Mario Van Peebles, and Sean Combs in leading roles.
The Dukes of Hazzard: The Beginning (2007)
The 2007 movie “The Dukes of Hazzard” isn’t exactly a sequel; instead, it appears to be more like a retelling or adaptation of the original “Dukes of Hazzard” TV series. Contrary to this assumption, a prequel titled “The Dukes of Hazzard: The Beginning” was actually produced two years after the initial movie grossed over $100 million in cinemas. Notably, most main actors from the first film were replaced in this version, with the exception of Willie Nelson who reprised his role as Uncle Jesse among the Dukes.
Underworld: Rise of the Lycans (2009)
As a passionate cinephile, I always appreciate film series that delve into the world of werewolves and vampires, like the iconic “Underworld” franchise. What’s fascinating about such tales is that characters can be reprised by the same actors in their younger forms, thanks to the supernatural nature of their roles! This prequel, titled “Underworld: Prequel,” primarily focuses on the supporting cast from the earlier Underworld saga, offering a captivating insight into how the age-old struggle between lycans and vampires unfolded. If you’re a fan of the Underworld universe who enjoys a storyline without the frequent appearance of Kate Beckinsale, this prequel provides an exciting opportunity to immerse yourself in the world without her extensive screen time; she makes a brief cameo at the end!
Terminator Salvation (2009)
As a fellow movie enthusiast, let me share my thoughts on “Terminator Salvation” – a film that, while technically a sequel, feels like a prequel given the complex chronology of the “Terminator” franchise. Set in the future, this installment offers a unique perspective as it introduces us to John Connor’s (Christian Bale) initial encounter with the T-800 robot and his rise through the ranks of the human resistance. However, despite its intriguing premise, the film unfortunately falls short of expectations. It marks the only instance where a “Terminator” movie is set entirely in the future, and notably, it’s the one without Arnold Schwarzenegger in a leading role.
Oz: The Great and Powerful (2013)
The Great and Powerful” isn’t a true prequel to “The Wizard of Oz” from 1939. Disney had the permission to create a movie about the early years of the Wizard from the Oz story, but they didn’t have the rights to copy the visuals or characters directly from the original film with Judy Garland. This might have been one of the reasons why the movie felt disconnected, as it attempted to link itself to a film it couldn’t directly connect to.
Leatherface (2017)
Orphan: First Kill (2022)
Kicking off our list is a well-known film that saw the demise of its central character – a seemingly innocent girl with a murderous streak. But how do you create a sequel when the title character is deceased? You don’t; instead, you craft a prequel like “Orphan: First Kill”, where the talented Isabelle Fuhrman reprises her chilling role as Esther, delving into the origins of her violent nature.
However, unlike its predecessor which was a shocking box-office success and propelled the director, Jaume Collet-Serra, to Hollywood fame (he did not return for “First Kill”), this prequel had a less profound impact, despite another strong performance by Fuhrman.
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2025-01-14 03:59