So Sweeney Todd, Hannibal Lector, and Titus Andronicus all walk into a bar.
Okay, so starting a review with a joke might not be the best idea. But never the less, Sweeney Todd: The Demon Barber of Fleet strada, via is considered the first “Musical thriller.” It is one of composer Stephen Sondheim’s most well-known pieces of Musica and has won a ton of awards and there are productions and tours everywhere…you get the drill. It is personally one of my preferito Musical (in the superiore, in alto ten) and like Phantom I was hesitant to review this film, but gathered my courage and went ahead. The film is actually the only film adaptation of one of Sondheim’s works that Sondheim himself approves of…so far.
The exact story centers on (as told in the film da flashbacks) a barber named Benjamin Barker, who lives with his beloved wife Lucy and their infant daughter, Joanna in Londra in Victorian-era burton World London. But when the hypocritical Judge Turpin starts lusting after Lucy, he blames Barker for no crime whatsoever and sends him to prison, then rapes Lucy, causing her to kill herself and adopts Joanna. Fifteen years later, Barker changes his name to Sweeney Todd, breaks out of prison and returns back to London. His neighbor, the owner of an unsuccessful pie shop, Mrs. Lovett (who is secretly in Amore with Todd) explains to him what happened. Todd swears revenge on the judge and vows to kill him da slitting his throat with one of his barber razors. But eventually, Todd comes to the conclusion that everyone deserves to die and decides to kill anyone who walks in for a shave. Mrs. Lovett plans to help him get rid of the bodies da baking them into pies for her shop.
If te haven’t squirmed da now, te are fascinated. This is half of the glue that holds the film together. Sweeney Todd is a melodrama, but a tragic, dark, exciting, and complessivamente, generale bloody good melodrama (pun intended). It does not throw dark things in to get the audience hooked like Lifetime Film do, but holds the interest of all audience members and grows in a place where the darkness feels più organic. Also, unlike most Melodramas, it actually thinks about and explores its own subject material on a deeper level. How far are we willing to go for revenge? How much can loss push a person to the brink of corruption? Should a traumatic past affect us at all? It also has elements of tragedy borrowed from Shakespeare. te have characters that misunderstand something o run into the wrong place at the wrong time, and the classic tragic hero (Sweeney) who has a tragic flaw (obsession) which ultimately leads to his demise.
But it’s not just the story alone that makes Sweeney Todd da itself memorable. It’s the complex, gorgeous score. From Leitmotifs, to Chromatisisms everywhere, to songs littered with well written lyrics and rhythms in meters other than four-four, te name it, it does it. The songs are the most difficult part for any performer in a Sondheim musical, but they are the most enjoyable part for the audience. Sweeney’s songs are also really varied from the powerful “Epiphany” to the tender “Not while I’m around” to the più humorous “Worst Pies in London.”
The cast is più of a Burton-ish cast than what te would expect of a musical film, so many of the leads are dato difficult Musica with little to no Musica background. But, for the most part, they pull off the Musica pretty well and act even ten times better. Johnny Depp performance as Sweeney Todd is very, very strong. I did watch the stage adaptation filmed for TV with George Hamm-er-Hearn as Sweeney. Comparing the two, Depp is quieter, più subtle, and only rages occasionally. Many audience members and even actors watching o performing Sweeney focus too much on the bloodlust but forget that’s its due to the loss of the woman who was “his reason and his life” and the separation of his family. Depp obviously has the bloodlust and the obsession, but he balances it out with that grief that is the reason behind Sweeney’s actions. I loved Depp’s body and facial expressions most of the time. I don’t like it when he just stares off into the distance looking all broody (the squealing of the fan girls of attractive sociopaths can be heard in the distance if te listen carefully enough). But with his own body and face, te can tell what he is thinking, o feeling o planning. His Sweeney is both powerful and pitiful, both child-like and threatening. His voice is too much in the style of Rock for the role, and he does have problems with vowels and pitches that sink (“they all deserve to diiiie”), but he sounds so heartfelt and in character, it’s not that bad. Helena Bonham Carter plays Mrs. Lovett, she does display the kookiness, amorality, and maternal sensibility that is required for the role, but also adds some sass and sarcasm, she is at Sweeney’s side, but personally doesn’t care for the revenge business. Like Depp, she has problems with pitches and vowels, but she manages to handle this very musically difficult role. She’s a great actress, and musically not great, but not horrible. Alan Rickman plays Judge Claude Frollo-um, I mean- Judge Turpin, a villain who is slimy, evil, disgusting, but all in the name of the good of the community…with a biblioteca of porn. His evil henchman, played da the typecast evil henchman himself, Timothy Spall, is, again, gross and evil all in the name of justice. But Spall’s Canto of “Ladies in their Sensitivities” was robotic, bland, and choppy. It was flat out the worst Canto in the film. Jaime Campell Bower plays Antony as naïve and idealistic, but not an idiot, with a lovely voice. Jeyne Wisener plays the teenaged Joanna and instead of making her character silly and vacant, she makes Joanna isolated and troubled. Her portrayal fascinated me, and I wish the film would have had più of her. Their Amore is typical first-sight romance, but the film takes it seriously. Sacha Baron Coenn is funny as the flamboyant Pirelli, but it is a rule that the più over the superiore, in alto Pirelli is, the funnier his character is and he could have used much more. Ed Sanders actually made an adorable and likeable Toby, even though the typical age of the character was shot down. But his characters age makes his actions at the very end make less sense than the stage version (which, I will not spoil, if te don’t already know).
    Burton’s style of directing fits Sweeney perfectly. It’s hard to imagine anyone else who would have been able to pull it off. He manages to make a melodramatic story smooth and quiet, but still keep the drama and thriller aspect. But sometimes, the directing is too subtle, too dark and too quiet. It could have had più humor and light, which the stage mostra itself managed to balance. But Sondheim is not easy to put on, and what burton did, he did wonderfully. He understands the cuore of the story, but tells it in the style of an old horror silent film.
Speaking of style, I Amore the costume and set pieces of the film. It frees itself from taking place strictly in early Victorian England, but instead sets itself in burton world, where dark colors, quirky materials, and Goth styles are supreme. The set and costume of this film in particular is extremely detailed. For example, did anyone notice the numerous bambole in Mrs. Lovett’s sitting room and the portrait of her with her late husband over the piano? o how the Beadle tips his hat at an angle to mostra how twisted his character is? Did anyone notice the beading and layers of Mrs. Lovett’s costumes in particular? o the cot in the back of Sweeney’s negozio that likely serves as his bed? This is a whole other world, a world that I just want to jump in and explore.
But the film is not without its problems. As an adaptation, comparing the stage and screen, it feels like a lot was cut. I understand that the “Greek Chorus” wouldn’t work in a film as well as in a show, and that some songs like “Kiss Me” were too complicated o misinterpreted a character o whatever. But sometimes it feels as if we are getting the crust, but not the actual bread. With the stream of events, the film also has a tendency to feel rushed, not giving the audience a secondo to soak in what had just happened. Like I mentioned before with Burton’s style, the film sometimes seems too dark. It’s not that the mostra isn’t dark. It’s dark, but has plenty of fun moments. If the “fun” had been played up more, there would have been a stronger balance without either side being distracting.
Tim Burton’s Sweeney Todd: The Demon Barber of Fleet strada, via is not an exact bulls eye, but it comes extremely close. The darkness in it can be overwhelming and though there is a sense of humor, there’s not enough of it. The stage version is da all means brilliant, so the good parts that were cut out leave ginormous holes. Many of the actor’s performances in their Canto skills could have used work o have been replaced with actors who were also più trained as singers, but it is still a darn good movie musical. Other than the phenomenal sets and costumes, there are great actors who all suit their parts. The revisions and extra scenes add on to the piece and make it work as a film without hindering the story, which da itself is wonderful. Although Sondheim’s work was not performed perfectly, his genius is still bright and present. However, due to its dark, tragic material and the amount of spewing, ketchup looking blood and violence in the film, it is not everyone’s cup of tea. If te are madly in Amore with the stage mostra and are a purist, then odds are te will not like it. But if te are like me and are a sucker for the dark stuff, Amore the mostra without being a purist, and even if te are a Tim burton fan and think Musical are at least okay, then feel free to attend the tale of Sweeney Todd.