everyone EXCEPT my man Toby. Sure he's had a rough life, he'll arguably worse of all of them. He was forced child labor in a factory and then had to face the child abuse of Borat (And suffer cuts on his wrist when he's not even emo) but does he complain whine moan and bitch like the rest of the cast? Hell no, he takes it like a man and drowns his sorrows in whiskey.
That was my much needed LAWL for the day.
I've finally gotten round to refining my review a bit, so I thought I'd post it here. It's a bit lengthy (but trimmed of spoilers):
Sweeney Todd, played by Johnny Depp, is a man whose life has been sucked out of him. In its place evil has come to abode; the menacing eyes, pale taunt skin, a lethal combination of sorrow, hatred, and warped justice is perfectly embodied by Depp. His idea of compassion has gone astray, to the point where he has shut himself off to the world – even to the persistent advances of Mrs. Lovett. If the saying “the eyes are the window to the soul” is true, then we are looking at the very pit of hell itself. To say Sweeney is no longer human and a machine of his own undoing would be an understatement.
His mind has been plagued with ridding London of one man, the vulture-like Judge Turpin (played by Alan Rickman). He and his devious companion, Beadle Bamford, (played by Timothy Spall) are responsible for much – if not all – of Sweeney’s descent into madness. All of these men get a chance to showcase their vocal talents, Rickman with “Pretty Women” (a duet sung between Turpin and Sweeney), Spall with “Ladies In Their Sensitive”, Depp, of course, has the biggest challenge of all – convincingly showing the audience (through song) the very nature of Sweeney’s disconcert for humankind. With a [surprisingly] overpowering tenor range that exudes an embittered rage, yet the unlikely ability to be naïve, he glides through “No Place Like London”, and lets his inner terror come through on “Epiphany” (Sweeney’s grandiose plot of vengeance). With “My Friends”, one can see him calculate on just how he will have his way.
Jayne Wisener did not stand out as Johanna (vocally), which is partly due to the fact that “Kiss Me” had been cut. It is so important for the characters of Johanna and Anthony, without it there seemed to a void to their personalities. Jamie Campbell Bowers came off a little too young for Anthony at first, but it seemed to work in the sense that his infatuation with Johanna was like that of Romeo with Juliet and Tony with Maria. He has a lovely singing voice, which made me miss “Kiss Me” even more. However, his “Johanna” is one of the best renditions I’ve heard (outside of Hugh Panaro a few years ago at the Kennedy Center). Sacha Baron Cohen is an absolute delight to watch onscreen, and is perfect in every way as the flashy Signor Pirelli, rival barber to Sweeney Todd. He too, has a splendid voice, and if a replacement for Mary Sunshine is needed for
Chicago on Broadway, then they have certainly found a worthy contender.
Helena Bonham-Carter did not disappoint me as Mrs. Lovett. I was hoping for a hollowed, morally awry woman whose life brightens considerably when “Mr. T” comes along. She is no Lansbury or LuPone, but she puts her own stamp on the character, playing Nellie Lovett with a saucy ferocity. “Worst Pies in London” is delivered with a powerful punch and wit. Her timing is exquisite – from the crunching of a roach to pounding the daylights out of a piece of dough. Her voice is not what one would deem “pretty” but is the most true to the character. “Wait” is where she shines and is really the first time she is faced with Sweeney’s distance. Her need for attention is not reciprocated by Sweeney, not even when she is doing what she feels is right in order for him to realize her existence. Unfortunately, by the time she understands that she has been pining for a truly disastrous individual, it is too late to escape.
“A Little Priest” seemed too short, and I found myself supplementing the missing snippets of dialogue in my mind. However, I was surprised by the key changes. They did not have that same disjointed feel, instead ending on a cheerier vibe. My only qualm was that I could barely hear Helena at the end, but her sweet soprano and Depp’s dark tenor blended deliciously together which made the piece an overall treat.
“By The Sea” was an amusing sequence. Sweeney’s prickly pear exterior played a delightful contrast to Mrs. Lovett’s cheerfully disillusioned view of how their life should be. I especially enjoyed the part where they are wed and she is almost so eager she can’t wait to say “I do”. Sweeney, on the other hand, has the most wonderful puzzlement on his face when told he may kiss the bride. When sitting on the blanket overlooking the sea, he half-heartedly puts a hand on her lap. His lack of concern is not because he doesn’t care for Mrs. Lovett it is rather that he doesn’t particularly think much on having a relationship with anyone or anything, outside of his beloved blades or with his long-lost family.
Ed Sanders nearly stole the film as the adorable Oliver-like Tobias. (How can one not smile when he says “Per-leaaase?”?) I have heard numerous complaints on his acting and singing, saying he is far too young for the role (Tobias is portrayed much older onstage) or too vacant during “Not While I’m Around”. Not so. He delivers the song with the purest innocence and endearment which brought tears to my eyes. His love and willingness to protect Mrs. Lovett away from the “demons” sets the stage for his transformation at the finale.
Tim Burton’s
Sweeney Todd may not be exactly perfect, but it does brilliantly capture the very essence of Sondheim’s score, satirical humor, and characters. He achieves in creating a fanciful atmosphere, of which the audience is thrown head first into the realm of insanity and its character-driven plot. It is truly a clever reexamination.
"I am and always will be the optimist. The hoper of far-flung hopes and dreamer of improbable dreams." - Doctor Who
"Yes, the brutalities of progress are called revolutions. When they are over, men recognize that the human race has been harshly treated but it has moved forward." - Les Miserables
Updated On: 12/24/07 at 01:37 AM
