sweeney todd

On Tuesday night, I went to see Sweeney Todd in Times Square, as part of my quest to watch all the Oscar nominated movies as soon as possible (Michael Clayton and No Country are coming up next).

What I will say is that Sweeney Todd is my favorite movie of the year so far (edging out Atonement and Juno). What I will also say is that it is by no means one of my favorite movies ever.

The visual style in the film is phenomenal, Tim Burton is clicking on all creepy cylinders in this bloody, murderous, intense Sondheim musical. The film is shot in what seems to be a grainier stock, making London feel as drab as ever, with a secret around every corner.

Sondheim’s score is weaved in to perfection, and Johnny Depp can, indeed, carry a tune or two. Although the part was written for a bass, he makes it work well enough in his higher register (which, oddly, makes it sound more poppy, which is a bit strange to hear in Sondheim). And the Joanna ballad, as always, soars above the buildings of London and into the clouds of a much more innocent story of love.The blood runneth through this story and haunts you at every turn. Each time Burton was faced with a choice whether to ramp up the graphic nature or tone it down, he chose the former. And it works quite well.

My biggest criticism is actually with Depp’s performance itself (Oddly enough). His choice made sense to me: A constantly brooding man with a suffocating tunnel vision. Nothing in his environment makes him waver from his goal of getting his revenge. That’s one of the odd things about making choices as an actor: very often, the most logical choice is not the strongest choice. And in this case, Johnny Depp falls victim to that easy misstep.

For example, take the scene in which Mrs. Lovett introduces her human meat pie idea to Todd. Again, he sits there brooding, and when he sings and dances with Mrs. Lovett, it’s with all the enthusiasm of a floorboard. It’s just not that interesting to watch, and drags the momentum down. You also wonder why he takes no joy in killing these people. I get it, he’s dead to the world, he has one goal in mind, etc. etc. But those scenes could have been much stronger with a Sweeney possessed by apathy and channeling it through sick pleasure, rather than wearing it on his sleeve.

Besides that (and the fact that Alan Rickman and Helena Bonham Carter can’t handle the score), it really is the best of the year so far and is worth seeing if just for Burton’s interpretation of this dark, dank, world of London. And, of course, for the blood. There is no lack of that.

~ by mrchevyceleb on February 14, 2008.