What’s happening to movie musicals? Once a staple of cinematic success, musical films seem to have fallen from grace. They appear subpar and sound mediocre, and in some cases, directors shy away from marketing them as musicals altogether. So, what is the fate of this once-thriving genre? Patti LuPone, a legendary figure in musical theater, has expressed her disdain for contemporary movie musicals. During a 2017 appearance on Andy Cohen’s talk show, she discussed the 2012 film rendition of Les Misérables, labeling Madonna’s performance in Evita as “dead behind the eyes.” LuPone asserts that many fail to recognize the complexities of creating a musical film without understanding the theater process.
Movie musicals in the 21st century have become mere shadows of their illustrious predecessors. In an era marked by risk aversion, studios lean heavily on adaptations from the stage, featuring bankable stars in leading roles, think Chicago or Into The Woods. This trend has only dwindled since 2020, with musicals often disguised to avoid deterring potential audiences.
The decade from 2010 to 2019 did see some critical and commercial wins for movie musicals. Films like Les Misérables, which grossed an impressive $435 million worldwide, earned accolades, including an Oscar for Best Actress for Anne Hathaway, despite LuPone’s critical stance. Damien Chazelle’s La La Land, distinct for not being rooted in existing material, amassed $433 million globally and received multiple Oscar nominations, becoming a classic in its own right.
However, not all attempts hit the mark. The 2019 adaptation of Cats, directed by Tom Hooper, had all the components for success—a star-studded cast, including Idris Elba and Jennifer Hudson, and a public eager for an exciting take on a familiar musical. Yet, it bombed catastrophically, earning only 19% on Rotten Tomatoes and provoking endless ridicule, even from its own cast. Misguided creative choices, coupled with subpar CGI, marked a significant downfall for the genre, leading to an industry-wide retreat from musical projects.
In 2021, we witnessed a small revival with the release of sixteen new musicals, resulting in varying degrees of success. The standout releases of that year, Steven Spielberg’s reimagining of West Side Story and Lin-Manuel Miranda’s Tick, Tick…Boom!, revealed a refreshing take on musical film. West Side Story drew in audiences with its dance sequences and impressive casting, including up-and-coming talent. Meanwhile, Tick, Tick…Boom! showcased Andrew Garfield’s surprising prowess in musical roles, highlighting Lin-Manuel Miranda’s deep understanding of the genre.
However, despite their artistic qualities and critical praise, both films struggled commercially. West Side Story garnered just $74 million against a $100 million budget, while Tick, Tick…Boom! barely broke even with a modest global toll of $115,585 during its limited run before streaming. Such patterns raise critical questions about why these musicals fail to draw in audiences, underscoring a possible indifference to the genre as indicated by other 2021 flops like In The Heights and Dear Evan Hansen.
This ongoing struggle has prompted studios to rethink their marketing strategies. Wonka, for instance, promoted itself as a family-friendly adventure rather than a musical, achieving remarkable box office success while Mean Girls leveraged a catchy Olivia Rodrigo song in its trailer—striking gold with ticket sales despite poor reviews.
Nonetheless, there is a path for movie musicals to reclaim their place in cinema. Adapting well-known Broadway productions remains a viable strategy due to the well-established fanbase, yet the execution is crucial. Studios should prioritize assembling passionate talent—both in front of and behind the camera—who truly understand the nuances of musical storytelling. Welsh actress Hannah Waddingham’s advice resonates: hiring theatrical talent often results in stronger performances, creating dynamic onscreen energy.
Upcoming projects like Jon M. Chu’s two-part adaptation of Wicked hold promise. With a cast of award-winning performers alongside popular figures like Ariana Grande, expectations are high for a successful blend of star power and musical integrity. The challenge lies not just in casting but in recapturing the essence of filmmaking that pushes creative boundaries. The most memorable movie musicals transport audiences into extraordinary realms, illustrating sheer spectacle that cinema uniquely affords.
Another notable release, Joker: Folie à Deux, enters the fray, shying away from the “musical” label despite its inherent musicality. The reluctance to embrace the term raises eyebrows—could it be that filmmakers view it as a commercial liability? Yet this is a curious paradox, as recent successes demonstrate that, when approached well, musical films can excel in both critical reception and box office performance.
Ultimately, Wicked and Joker: Folie à Deux present significant tests for the genre’s resilience. With the right expertise and a willingness to embrace what makes musicals special, these films could very well rekindle audience interest in the musical format. The stakes are high, and as history suggests, failure to adapt could lead to a harsh reckoning for an art form that still holds a powerful place in cinematic history.