Thanks to Depp, 'Todd' Retains Its Flavor Despite a Trim
The other shocker: The film's really good. Director
This is a musical. Are we clear on that? The early trailers put out by Warner Bros. and
But if you're at all interested in the form—it's been a good year for screen musicals, in fact, what with "Once" and "Hairspray" and the loony home-movie-musical "Romance & Cigarettes"—and if you're curious about seeing work guided by music and lyrics from the finest practitioner of his craft not, for once, messed up on screen, "Sweeney Todd" offers potent and insinuating satisfactions.
First introduced in the serialized newspaper cliffhanger "The String of Pearls," Todd's exploits have long haunted the English-language imagination. Here, screenwriter John Logan has taken the essentials from the musical libretto by Hugh Wheeler—there's not much of it; Sondheim's titanic score verges on the operatic—and focused the piece on a handful of characters.
Capitalism being the best route to revenge, Todd reopens his barber shop above the pie emporium of Mrs. Lovett. She's played by
If Bonham Carter's singing voice had more heft "Sweeney Todd" would be practically unstoppable, a dark force of nature. As fine an actress as she is, though, she's only adequate when it comes to Sondheim's demands. (She may not have been coached correctly: Why not bite off the lyrics in the patter classic "The Worst Pies in London," instead of going all legato on the thing?) Sacha Baron Cohen is no great shakes vocally as Todd's rival barber, Pirelli, but he's lucky: His big song ("The Contest") adapts well to this new tempo and an average singer's attack. And like his cohorts, Cohen happens to be an excellent screen actor with comic and dramatic wiles to spare.
Production designer Dante Ferretti's grimy, charcoal-gray streets and facades of a pitiless London recall John Box's sets for the 1968 film version of "Oliver!" if you took all the color out of both the streets and every urchin's face. Mrs. Lovett's day-dreamy "By the Sea" is the film's sole relief from Burton's aesthetic, and here the designs are spectacularly funny—a series of Victorian postcards sent from a vacation destined never to be taken.
The casting of the youthful Depp and Bonham Carter necessitated going very young in the secondary roles. Thus Tobias, Pirelli's put-upon slave adopted by Mrs. Lovett, is now a full-on preteen (or close) moppet, royally handled by Ed Sanders. It's striking to hear songs of devotion coming from such a moppet, and Burton finesses his duet with Bonham Carter, "Not While I'm Around," just so. He also keeps the self-conscious camera gymnastics to a minimum: He's having fun with the material, but he doesn't want to let the audience off the hook. The soundstage sets, unlike the sets for Burton's "Sleepy Hollow," aren't meant to suggest a speck of actual outdoor daylight, but unlike many a previous screen musical ("Guys and Dolls" comes to mind) the theatrical artifice doesn't stifle the atmosphere. It unlocks it. And Burton's boldest strokes are on the money—the last time we see Mrs. Lovett on screen is a moment 20 times as effective as its stage counterpart.
It won't be for all tastes, which is the understatement of the year. The film casts a mighty spell of doom. Sondheim's music, superbly orchestrated and played, sounds marvelous as lush
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