| T O P I C R E V I E W |
| BaftaBaby |
Posted - 01/25/2008 : 10:14:25
Confession time: I have a problem with Stephen Sondheim musicals, but I recongize it's my problem not Steve's. I just don't connect. Didn't when I first saw Sweeney Todd on stage in the West End - well, I liked the bizarre story, it's just the music. Always felt a tad sub-Kurt Weill.
BUT
From its powerful opening title credit sequence, evoking the dark etchings of Durer, I certainly connected with Tim Burton's film. And, while I can't say I enjoyed the music, I can see how it works in that German sing-speak tradition. And there's one moment, Johnny Depp on his knees, razors in both hands, that actually brought tears to my eyes.
The visuals are astounding: the great Dante Ferretti's production design brought to perfect cinematic life by Dariusz Wolski's impeccable cinematography carry the story with the relentless punch of a graphic novel. On my fantasy wish-list is now a roll of lush wallpaper composed of every frame of this film.
Burton's directorial choices, both in his mostly superb cast and in his appropriately claustrophic treatment of the material, complement the familiar story which could all too easily have been demeaned by a crasser treatment.
Grizzly as the tale is of Victorian cannabalism, the real horrors reside in a society which inflicts its own reprehensible tortures based on the abuse of power, revenge, and the maintenance of a class-based tyranny that subverts justice.
Because Burton recognizes this but concentrates instead on the smaller tale, it's his treatment that conveys the wider message. In that, he's more than ably assisted by the cast, most particularly Johnny Depp. Whoever dismisses Depp's range simply doesn't understand the subtlety of his work in finding the humanity of a man demented enough by false imprisonment and the loss of his beloved family to commit atrocities in the dubious name of revenge. That he accomplishes this emotionally is proof enough of his craft; that he can control accent, physical demeanor, and an ability to sing is icing on the cake.
As he meets up with the other key characters he's often called on to feign friendliness, even humour. But everything's always filtered through the imbalance of his mind.
In her equally dominating obsession with him, Helena Bonham-Carter gives one of her best performances. All her gentle schemings, practiced with an unflagging patience that inches her closer to her fantasy life with the man she loves, all allow her not only to participate in the ensuing madness, but to initiate its bloodiest horrors.
The main supports - Alan Rickman, Timothy Spall, and Sacha Baron-Cohen - bring the contrast demanded of them. Rickman's less mannered than he's been lately, and Cohen proves he can deliver surprises with an amount of elegance.
Of the young lovers, Jayne Wisener simply hasn't got enough to do to show her prowess, though her petite prettiness is a welcome relief from the seamier side. I wasn't impressed by Jamie Campbell Bower, though, whose own prettiness felt misplaced and who never got to grips with the passion that was meant to drive him. Bit of a wimp, I thought. In fact the whole sub-plot of the romance always feels like a plot device that's almost irrelevant to the story. It's like some Moliere scenes were tacked on as an afterthought.
But what Burton and company have collectively achieved is a visual astonishment that manages to be both poignant and engaging.
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| 8 L A T E S T R E P L I E S (Newest First) |
| chazbo |
Posted - 06/18/2008 : 02:06:27
I just saw this on DVD a couple of nights ago. I emphatically agree with the positive reviews -- it was a joy from beginning to end. Though I also feel that the young-love plot is underdeveloped, it may be that I have less to quibble about here than in other Burton films. And Johnny Depp never ceases to amaze me (except when he does another pirate flick).
And, Wildheart, I too was not overly impressed with Borat, so you are not alone. But I must say, I never thought that Jack Dawson was king of anything.
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| w22dheartlivie |
Posted - 06/17/2008 : 21:58:16
It's no FWFR secret that I love me some Johnny Depp. I've waited so patiently to see this film, but circumstances kept me from it until now. So when I finally was able to renew my Netflix subscription, this was first on my list. I eagerly grabbed it from the mailbox and settled in for a lovely afternoon of meat pies.
Johnny Depp never ceases to amaze me. His talent seems boundless, and the guitar player who doesn't sing has proven that he, too, can carry a tune. His voice was strong and powerful and served as a controlled counterpoint to the deepening madness reflected in his eyes. One of my favorite Depp roles was in "Secret Window," which wasn't a huge success, but it served to illuminate the fact that there are more than two Johnny Depps. One is the quiet, unassuming and apparently shy man who is soft-spoken and humble in interviews; the others are the brilliant characters he plays, tapping into personalities that never ripple the surface of the actual man. His skill only grows with age. His performance seemed to have quieted the naysaying Sweeney Todd purists who first objected to the casting.
When Depp joins with Burton, the combined product is genius. One reviewer referred to Depp as Burton's alter-ego and that is reflected again in Sweeney Todd. The juxtaposition of the grim, dark and gritty reality of Todd's world with the surrealism of Lovett's fantasy world was reminiscent of the colorful world of Edward Scissorhands and Willy Wonka: not quite right, too brilliant, too clean and perfect. The visuals are startling. I'm very excited about the recently announced upcoming Burton-Depp collaboration, with Burton directing Depp's Infinitum-Nihil production of Dark Shadows, with Depp presumably playing Barnabas Collins.
While I could go on about the Burton-Depp brilliance, kudos must go to the rest of the cast. Helena Bonham Carter (whom I don't always like), proved very capable of playing Lovett, providing a nice vocalization. Alan Rickman, as Bafta noted, was understated. The rendition of Pretty Women with Depp was gorgeous and rivaled most musical duets I've heard for skill, control and musicality (and I've seen more than my share of Broadway musicals, for an Indiana girl). Major props to young Ed Sanders as Toby, in his first (and to date, only) film role. And finally Sasha Baron Cohen. Apparently alone in this, I wasn't a huge fan of Borat and didn't really appreciate him until this. His larger than life Pirelli/Collins was a highlight. The DVD features say he came to his audition and sang Fiddler on the Roof. All of it. It certainly paid off and gave us a Monty Pythonesque sideshow hawker in all his glory.
I'm so glad I finally saw this film, it was a delightful vengeance, madness, and retribution-filled visual triumph. To hell with Jack Dawson, Johnny Depp is king of the world.
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| ChocolateLady |
Posted - 04/21/2008 : 17:19:26
Sounds good enough to me.
(Yes, I remember that Missouri is called "The 'Show Me' State". But being from Illinois {aka "The Land of Lincoln", which isn't totally accurate since he was born in Kentucky} I don't have to be wary of hype.)
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| randall |
Posted - 04/21/2008 : 01:41:08
We just caught it tonight on DVD. We know the piece well, and were fortunate enough to see the recent sizzling-hot revival in which the actors also serve as the orchestra. So, we were from Missouri, if you know what I mean.*
The sumbitch rocked.
We did miss the stage show's famous opening number, but it didn't take long to pass through that portal into Burtonland; its apex was the hilarious scene in which Tim Burton characters mirthlessly attempt to enjoy the seaside! Voices: accomplished enough to tell the story, and clearly belonging to the actors themselves. Lensing: as close to b&w as possible [except for a couple of fantasy or memory sequences that explode with color to make sure you know the filmmakers' dark choices are deliberate], making the copious blood red red red against the otherwise dank palette. Humor: turned way up, most notably in the casting of Sasha Baron Cohen and in the wonderful performance of the brilliant lyrics through which they're judging which class of victim will make the best meat pie. Alan Rickman plays Snape once again, but this time he sings too!
Don't be afraid of the blood: most of the carnage is thrown away in one song, and at least one slashing happens off camera because we've seen it enough already. This is definitely not sung through; there are at least two spots where somebody starts singing after an intense protracted dialog sequence and you think, "Hey, for a second I forgot this was a musical!"
Like most film-version attempts, this piece still works immeasurably better on stage, but for a movie adaptation, for what it really is, we loved it.
*From experience in Sean's FYCTH, a Hint For Those Of You What Needs It: the complete phrase is, "I'm from Missouri: show me!" Meaning, "I'm not influenced by artifice or spin: let me see what you actually have." |
| Demisemicenturian |
Posted - 02/10/2008 : 00:45:32
Sweeney Todd: The Demon Barber of Fleet Street
I agree with you B.B. on all points, I think. I don't like sing-speaking in general, but it is fitting and unannoying here. The leads, especially Bonham Carter, are great, and it looks perfect (although saying "Imagine a Tim Burton Edwardian(?) London" would admittedly do the same thing as actually going to the trouble of creating it). The two young characters do indeed feel like a wishy-washy add-on. Apparently, they are more significant in the original musical and I don't feel they were edited down successfully. |
| ChocolateLady |
Posted - 01/26/2008 : 07:45:56
quote:
Originally posted by lemmycaution
quote:
Originally posted by ChocolateLady
Marvelous review. I'm... er... dieing to see this one!
When you do give it your stamp of approval.
<sigh>
(Dyslexics of the world, untie!) |
| lemmycaution |
Posted - 01/25/2008 : 18:18:10
quote:
Originally posted by ChocolateLady
Marvelous review. I'm... er... dieing to see this one!
When you do give it your stamp of approval. |
| ChocolateLady |
Posted - 01/25/2008 : 16:42:49
Marvelous review. I'm... er... dieing to see this one! |
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