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Sweeney Todd: The Demon Barber of Fleet Street, adaptation of the Stephen Sondheim and Hugh Wheeler musical, was one of 2007’s greater cinematic curiosities, not only in considering its Golden Globe and Academy Award success, but the fact that, as is a rare occurrence, a musical has been rated “18” (UK) and “R” (US). Whilst one cannot profess to be terribly fond of musicals, when such remarkable talent as Tim Burton and Johnny Depp are helming said project, one is enticed and drawn in like little else.
Even those most enamoured with Depp (teenage girls, if I may stereotype for a moment) may deem him to be rather lazily recycling his Jack Sparrow accent for Sweeney Todd (sans the alcohol-induced slurring), yet it is difficult to deny that he possesses a screen presence like few others acting today, and whilst not entirely deserved of the astronomical heaps of praise levied upon him, he is, in his own right, a great actor, and few others can be imagined in this role.
In remaining consistent with Burton's other works, and as the acclaimed director may only know, Sweeney Todd retains the dark, yet curiously humourous tone of his previous endeavours. One is drawn to the instance in Edward Scissorhands in which Edward drinks some “lemonade” (which is actually strong alcohol) – the humour in Sweeney Todd befits such a tone, although is considerably darker, and is bathed in substantial buckets of gore.
It is intensely refreshing to encounter a musical which does not stop to smell the roses, nor flood the screen with wacky hair (ala Hairspray), although Depp's get-up is fairly arresting in its own right. Burton, above all else, is intimately schooled in deft artistic direction, utilising his unique, gothic style to create a fantastical mood like no other. Artistically, Sweeney Todd is a near-perfect blend of the visual and aural, and in simply “experiencing” the film, it is certainly not the bore or tiresome attempt that Corpse Bride occasioned to be.
Sweeney Todd’s premise involves Benjamin Barker (Depp), who escaped from prison after fifteen years (upon a charge which was false), returns to London, and reinvented as Sweeney Todd, swears bloody revenge on those who wronged him, such as the lecherous Judge Turpin (Alan Rickman). The film is also garnished with a less thrilling subplot involving Todd’s friend, Anthony Hope (Jamie Campbell Bower), who pines for the beautiful Johanna (Jayne Wisener), who resides with Turpin. My curiosity was stirred enough by the fact that the film was rated 18, and so these moments in which Hope pines for his forbidden love simply left one feeling fairly restless in the wait for the bloodletting and gritty storytelling.
Much praise can be lent to the stellar supporting cast, ranging from Sacha Baron Cohen, to Timothy Spall (as Turpin’s slimy lapdog), to the superb Rickman. Each brings a unique presence and sense of quirkiness to the film that adds exponentially to the picture without ever drowning it, even if they, with the exception of Rickman (and Spall at moments), essentially serve as padding to gorge the viewer’s appetite.
If anyone keeps us entertained before the meat of the plot fleshes into gear, it is without a doubt Mrs. Lovett (Helena Bonham Carter), an inept pie-maker who ultimately becomes Barker’s accomplice, baking his victims into pies. Whilst no doubt contentious, Carter appears to frequently outshine even Depp’s impressive turn. Her accent will surprise those unaware that she is English, and for those who are aware, her performance is nonetheless scintillating. Claims of nepotism were undoubtedly abound when she was cast for the part (being Tim Burton’s wife), yet Carter performs beyond all criticism, in a turn all-too worthy of an Academy Award, yet unfortunately unrecognised.
Sweeney Todd may appear to be slightly less impressive stylistically than the likes of The Nightmare Before Christmas or Corpse Bride, although this is a given, seeing as it lacks the often-frenetic style of those films, yet it is visually impressive in its own sense, drowning the screen in a cold, almost grey-scale series of colour filters for the most part.
Those unfamiliar with the film’s genesis may expect a procedural, yet unassailably quirky serial killer film with a musical twist, and alas, may be slightly unnerved – Barker’s mental stability doesn't begin to falter until nearly half way through the picture, although when he lashes out, he literally douses the screen in plasma. The violence is what is generally termed as graphic, although it is so Kill Bill-esque in its execution, so fond of squibs, that it never really shocks or disturbs, and whether this is a good thing or not is likely to differ from person to person.
It is also pertinent to state that Sweeney Todd is not a film concerned with a serial killer, as such - Todd does not, to begin with, kill innocent men. He kills those who blackmail, those who have wronged him, and figures of his past who threaten his existence. This is not a mainstay, however, and his violent tendencies do eventually turn entirely immoral, although remain fairly sympathetic throughout. In typical Burton fashion, the troubled protagonist is faced with a greater, more outright evil that they must confront, and frequently, and in no greater abundance than in Sweeney Todd, shed blood in doing so. Given the typically whimsical tone of musicals, the morality of Burton’s picture, whilst never overt, is a welcome change from the norm.
Even as a frequent detractor of musicals, it is difficult to ignore the heart and soul poured into Sweeney Todd; it is a competently-crafted musical with hit-and-miss music, yet standout performances and skilful artistic direction. Burton and Depp fans will by and large fall in love with the film, and even cynics should enjoy its delightfully dark, gore-soaked tone.
Thanks for reading,
Reefer
Even those most enamoured with Depp (teenage girls, if I may stereotype for a moment) may deem him to be rather lazily recycling his Jack Sparrow accent for Sweeney Todd (sans the alcohol-induced slurring), yet it is difficult to deny that he possesses a screen presence like few others acting today, and whilst not entirely deserved of the astronomical heaps of praise levied upon him, he is, in his own right, a great actor, and few others can be imagined in this role.
In remaining consistent with Burton's other works, and as the acclaimed director may only know, Sweeney Todd retains the dark, yet curiously humourous tone of his previous endeavours. One is drawn to the instance in Edward Scissorhands in which Edward drinks some “lemonade” (which is actually strong alcohol) – the humour in Sweeney Todd befits such a tone, although is considerably darker, and is bathed in substantial buckets of gore.
It is intensely refreshing to encounter a musical which does not stop to smell the roses, nor flood the screen with wacky hair (ala Hairspray), although Depp's get-up is fairly arresting in its own right. Burton, above all else, is intimately schooled in deft artistic direction, utilising his unique, gothic style to create a fantastical mood like no other. Artistically, Sweeney Todd is a near-perfect blend of the visual and aural, and in simply “experiencing” the film, it is certainly not the bore or tiresome attempt that Corpse Bride occasioned to be.
Sweeney Todd’s premise involves Benjamin Barker (Depp), who escaped from prison after fifteen years (upon a charge which was false), returns to London, and reinvented as Sweeney Todd, swears bloody revenge on those who wronged him, such as the lecherous Judge Turpin (Alan Rickman). The film is also garnished with a less thrilling subplot involving Todd’s friend, Anthony Hope (Jamie Campbell Bower), who pines for the beautiful Johanna (Jayne Wisener), who resides with Turpin. My curiosity was stirred enough by the fact that the film was rated 18, and so these moments in which Hope pines for his forbidden love simply left one feeling fairly restless in the wait for the bloodletting and gritty storytelling.
Much praise can be lent to the stellar supporting cast, ranging from Sacha Baron Cohen, to Timothy Spall (as Turpin’s slimy lapdog), to the superb Rickman. Each brings a unique presence and sense of quirkiness to the film that adds exponentially to the picture without ever drowning it, even if they, with the exception of Rickman (and Spall at moments), essentially serve as padding to gorge the viewer’s appetite.
If anyone keeps us entertained before the meat of the plot fleshes into gear, it is without a doubt Mrs. Lovett (Helena Bonham Carter), an inept pie-maker who ultimately becomes Barker’s accomplice, baking his victims into pies. Whilst no doubt contentious, Carter appears to frequently outshine even Depp’s impressive turn. Her accent will surprise those unaware that she is English, and for those who are aware, her performance is nonetheless scintillating. Claims of nepotism were undoubtedly abound when she was cast for the part (being Tim Burton’s wife), yet Carter performs beyond all criticism, in a turn all-too worthy of an Academy Award, yet unfortunately unrecognised.
Sweeney Todd may appear to be slightly less impressive stylistically than the likes of The Nightmare Before Christmas or Corpse Bride, although this is a given, seeing as it lacks the often-frenetic style of those films, yet it is visually impressive in its own sense, drowning the screen in a cold, almost grey-scale series of colour filters for the most part.
Those unfamiliar with the film’s genesis may expect a procedural, yet unassailably quirky serial killer film with a musical twist, and alas, may be slightly unnerved – Barker’s mental stability doesn't begin to falter until nearly half way through the picture, although when he lashes out, he literally douses the screen in plasma. The violence is what is generally termed as graphic, although it is so Kill Bill-esque in its execution, so fond of squibs, that it never really shocks or disturbs, and whether this is a good thing or not is likely to differ from person to person.
It is also pertinent to state that Sweeney Todd is not a film concerned with a serial killer, as such - Todd does not, to begin with, kill innocent men. He kills those who blackmail, those who have wronged him, and figures of his past who threaten his existence. This is not a mainstay, however, and his violent tendencies do eventually turn entirely immoral, although remain fairly sympathetic throughout. In typical Burton fashion, the troubled protagonist is faced with a greater, more outright evil that they must confront, and frequently, and in no greater abundance than in Sweeney Todd, shed blood in doing so. Given the typically whimsical tone of musicals, the morality of Burton’s picture, whilst never overt, is a welcome change from the norm.
Even as a frequent detractor of musicals, it is difficult to ignore the heart and soul poured into Sweeney Todd; it is a competently-crafted musical with hit-and-miss music, yet standout performances and skilful artistic direction. Burton and Depp fans will by and large fall in love with the film, and even cynics should enjoy its delightfully dark, gore-soaked tone.
Thanks for reading,
Reefer
I recon he is a good singer, and he is cute.
the film is amazing you should go and see it 11/10.
Of course it has singing it is a musical.
the film is amazing you should go and see it 11/10.
Of course it has singing it is a musical.
I haven't actually seen this film yet, it sounds really good and it looks great from the adverts. But one thing I have heard about it from several people is that there's too much singing! And I'm not convinced that Johnny Depp can actually sing???
Has anyone else seen it? What do you think?
Has anyone else seen it? What do you think?
Sweeney Todd: The Demon Barber of Fleet Street, adaptation of the Stephen Sondheim and Hugh Wheeler musical, was one of 2007’s greater cinematic curiosities, not only in considering its Golden Globe and Academy Award success, but the fact that, as is a rare occurrence, a musical has been rated “18” (UK) and “R” (US). Whilst one cannot profess to be terribly fond of musicals, when such remarkable talent as Tim Burton and Johnny Depp are helming said project, one is enticed and drawn in like little else.
Even those most enamoured with Depp (teenage girls, if I may stereotype for a moment) may deem him to be rather lazily recycling his Jack Sparrow accent for Sweeney Todd (sans the alcohol-induced slurring), yet it is difficult to deny that he possesses a screen presence like few others acting today, and whilst not entirely deserved of the astronomical heaps of praise levied upon him, he is, in his own right, a great actor, and few others can be imagined in this role.
In remaining consistent with Burton's other works, and as the acclaimed director may only know, Sweeney Todd retains the dark, yet curiously humourous tone of his previous endeavours. One is drawn to the instance in Edward Scissorhands in which Edward drinks some “lemonade” (which is actually strong alcohol) – the humour in Sweeney Todd befits such a tone, although is considerably darker, and is bathed in substantial buckets of gore.
It is intensely refreshing to encounter a musical which does not stop to smell the roses, nor flood the screen with wacky hair (ala Hairspray), although Depp's get-up is fairly arresting in its own right. Burton, above all else, is intimately schooled in deft artistic direction, utilising his unique, gothic style to create a fantastical mood like no other. Artistically, Sweeney Todd is a near-perfect blend of the visual and aural, and in simply “experiencing” the film, it is certainly not the bore or tiresome attempt that Corpse Bride occasioned to be.
Sweeney Todd’s premise involves Benjamin Barker (Depp), who escaped from prison after fifteen years (upon a charge which was false), returns to London, and reinvented as Sweeney Todd, swears bloody revenge on those who wronged him, such as the lecherous Judge Turpin (Alan Rickman). The film is also garnished with a less thrilling subplot involving Todd’s friend, Anthony Hope (Jamie Campbell Bower), who pines for the beautiful Johanna (Jayne Wisener), who resides with Turpin. My curiosity was stirred enough by the fact that the film was rated 18, and so these moments in which Hope pines for his forbidden love simply left one feeling fairly restless in the wait for the bloodletting and gritty storytelling.
Much praise can be lent to the stellar supporting cast, ranging from Sacha Baron Cohen, to Timothy Spall (as Turpin’s slimy lapdog), to the superb Rickman. Each brings a unique presence and sense of quirkiness to the film that adds exponentially to the picture without ever drowning it, even if they, with the exception of Rickman (and Spall at moments), essentially serve as padding to gorge the viewer’s appetite.
If anyone keeps us entertained before the meat of the plot fleshes into gear, it is without a doubt Mrs. Lovett (Helena Bonham Carter), an inept pie-maker who ultimately becomes Barker’s accomplice, baking his victims into pies. Whilst no doubt contentious, Carter appears to frequently outshine even Depp’s impressive turn. Her accent will surprise those unaware that she is English, and for those who are aware, her performance is nonetheless scintillating. Claims of nepotism were undoubtedly abound when she was cast for the part (being Tim Burton’s wife), yet Carter performs beyond all criticism, in a turn all-too worthy of an Academy Award, yet unfortunately unrecognised.
Sweeney Todd may appear to be slightly less impressive stylistically than the likes of The Nightmare Before Christmas or Corpse Bride, although this is a given, seeing as it lacks the often-frenetic style of those films, yet it is visually impressive in its own sense, drowning the screen in a cold, almost grey-scale series of colour filters for the most part.
Those unfamiliar with the film’s genesis may expect a procedural, yet unassailably quirky serial killer film with a musical twist, and alas, may be slightly unnerved – Barker’s mental stability doesn't begin to falter until nearly half way through the picture, although when he lashes out, he literally douses the screen in plasma. The violence is what is generally termed as graphic, although it is so Kill Bill-esque in its execution, so fond of squibs, that it never really shocks or disturbs, and whether this is a good thing or not is likely to differ from person to person.
It is also pertinent to state that Sweeney Todd is not a film concerned with a serial killer, as such - Todd does not, to begin with, kill innocent men. He kills those who blackmail, those who have wronged him, and figures of his past who threaten his existence. This is not a mainstay, however, and his violent tendencies do eventually turn entirely immoral, although remain fairly sympathetic throughout. In typical Burton fashion, the troubled protagonist is faced with a greater, more outright evil that they must confront, and frequently, and in no greater abundance than in Sweeney Todd, shed blood in doing so. Given the typically whimsical tone of musicals, the morality of Burton’s picture, whilst never overt, is a welcome change from the norm.
Even as a frequent detractor of musicals, it is difficult to ignore the heart and soul poured into Sweeney Todd; it is a competently-crafted musical with hit-and-miss music, yet standout performances and skilful artistic direction. Burton and Depp fans will by and large fall in love with the film, and even cynics should enjoy its delightfully dark, gore-soaked tone.
Thanks for reading,
Reefer
Even those most enamoured with Depp (teenage girls, if I may stereotype for a moment) may deem him to be rather lazily recycling his Jack Sparrow accent for Sweeney Todd (sans the alcohol-induced slurring), yet it is difficult to deny that he possesses a screen presence like few others acting today, and whilst not entirely deserved of the astronomical heaps of praise levied upon him, he is, in his own right, a great actor, and few others can be imagined in this role.
In remaining consistent with Burton's other works, and as the acclaimed director may only know, Sweeney Todd retains the dark, yet curiously humourous tone of his previous endeavours. One is drawn to the instance in Edward Scissorhands in which Edward drinks some “lemonade” (which is actually strong alcohol) – the humour in Sweeney Todd befits such a tone, although is considerably darker, and is bathed in substantial buckets of gore.
It is intensely refreshing to encounter a musical which does not stop to smell the roses, nor flood the screen with wacky hair (ala Hairspray), although Depp's get-up is fairly arresting in its own right. Burton, above all else, is intimately schooled in deft artistic direction, utilising his unique, gothic style to create a fantastical mood like no other. Artistically, Sweeney Todd is a near-perfect blend of the visual and aural, and in simply “experiencing” the film, it is certainly not the bore or tiresome attempt that Corpse Bride occasioned to be.
Sweeney Todd’s premise involves Benjamin Barker (Depp), who escaped from prison after fifteen years (upon a charge which was false), returns to London, and reinvented as Sweeney Todd, swears bloody revenge on those who wronged him, such as the lecherous Judge Turpin (Alan Rickman). The film is also garnished with a less thrilling subplot involving Todd’s friend, Anthony Hope (Jamie Campbell Bower), who pines for the beautiful Johanna (Jayne Wisener), who resides with Turpin. My curiosity was stirred enough by the fact that the film was rated 18, and so these moments in which Hope pines for his forbidden love simply left one feeling fairly restless in the wait for the bloodletting and gritty storytelling.
Much praise can be lent to the stellar supporting cast, ranging from Sacha Baron Cohen, to Timothy Spall (as Turpin’s slimy lapdog), to the superb Rickman. Each brings a unique presence and sense of quirkiness to the film that adds exponentially to the picture without ever drowning it, even if they, with the exception of Rickman (and Spall at moments), essentially serve as padding to gorge the viewer’s appetite.
If anyone keeps us entertained before the meat of the plot fleshes into gear, it is without a doubt Mrs. Lovett (Helena Bonham Carter), an inept pie-maker who ultimately becomes Barker’s accomplice, baking his victims into pies. Whilst no doubt contentious, Carter appears to frequently outshine even Depp’s impressive turn. Her accent will surprise those unaware that she is English, and for those who are aware, her performance is nonetheless scintillating. Claims of nepotism were undoubtedly abound when she was cast for the part (being Tim Burton’s wife), yet Carter performs beyond all criticism, in a turn all-too worthy of an Academy Award, yet unfortunately unrecognised.
Sweeney Todd may appear to be slightly less impressive stylistically than the likes of The Nightmare Before Christmas or Corpse Bride, although this is a given, seeing as it lacks the often-frenetic style of those films, yet it is visually impressive in its own sense, drowning the screen in a cold, almost grey-scale series of colour filters for the most part.
Those unfamiliar with the film’s genesis may expect a procedural, yet unassailably quirky serial killer film with a musical twist, and alas, may be slightly unnerved – Barker’s mental stability doesn't begin to falter until nearly half way through the picture, although when he lashes out, he literally douses the screen in plasma. The violence is what is generally termed as graphic, although it is so Kill Bill-esque in its execution, so fond of squibs, that it never really shocks or disturbs, and whether this is a good thing or not is likely to differ from person to person.
It is also pertinent to state that Sweeney Todd is not a film concerned with a serial killer, as such - Todd does not, to begin with, kill innocent men. He kills those who blackmail, those who have wronged him, and figures of his past who threaten his existence. This is not a mainstay, however, and his violent tendencies do eventually turn entirely immoral, although remain fairly sympathetic throughout. In typical Burton fashion, the troubled protagonist is faced with a greater, more outright evil that they must confront, and frequently, and in no greater abundance than in Sweeney Todd, shed blood in doing so. Given the typically whimsical tone of musicals, the morality of Burton’s picture, whilst never overt, is a welcome change from the norm.
Even as a frequent detractor of musicals, it is difficult to ignore the heart and soul poured into Sweeney Todd; it is a competently-crafted musical with hit-and-miss music, yet standout performances and skilful artistic direction. Burton and Depp fans will by and large fall in love with the film, and even cynics should enjoy its delightfully dark, gore-soaked tone.
Thanks for reading,
Reefer