By: debbie lynn elias
In 1979, Stephen Sondheim set Broadway afire with the prolific and deliciously macabre musical SWEENEY TODD: THE DEMON BARBER OF FLEET STREET. An instant hit (of course, what isn’t by Sondheim), this satiric tale of madness and murder was set during the Industrial Revolution replete with influences ranging from Charles Dickinson to Strauss and Brahms to tawdry burlesque. One of the most beloved versions of this production heralded Angela Lansbury and George Hearn and yet another, Hearn and Broadway diva extraordinaire, Patti LuPone. Based on a story written by Thomas Prest appearing in an 1846 British penny dreadful, by 1847, George Didbin Pitt adapted the tale for the stage and “Sweeney Todd the Demon Barber of Fleet Street” opened at the Britannia Theatre eventually becoming a British urban legend with various stage versions captivating theatregoers for centuries. In 1936, Sweeney Todd hit the big screen (albeit without its musical legs) regaling and mesmerizing audiences with the dreadfully delicious story of the demented, heartbroken, revenge-fueled Sweeney Todd, proving itself a tale for the ages, a true classic, and since 1979 thanks to Sondheim, a part of musical history. Given the storied success of Sweeney Todd, it seems only natural then that one of the creatively successful and enduring pairings in film today, Johnny Depp and Tim Burton, take a slice of the pie with their own meaty masterful spin.
A barber and fictionalized villain with some rather heroic qualities, Sweeney Todd has spent the last 15 years rotting away down under in an Australia prison having been wrongfully convicted of some rather heinous crimes. Intent on revenge, Todd escapes, and with revenge in his heart and the taste of blood on his lips, manages to return to his beloved London and his kindhearted friend, and partner in crime, Mrs. Lovett (herself obsessed with an unrequited love for our dear Sweeney). Wonderful woman that she is, Mrs. Lovett has always contented herself with preserving Todd’s razors until his return. And what a glorious return indeed for at last, as Todd grasps his favorite weapon firmly in his hand his “arm is now complete.” And for Mrs. Lovett, she can now be closer to her love, working in tandem with him as he seeks out revenge for the crimes committed against him – okay, so he commits a few crimes involving slashing throats, drinking blood and having Mrs. Lovett bake the body parts in tasty little meat pies.
With hate in his heart, Todd targets his vengeance on the vile and heinous Judge Turpin, the “executioner” who had Todd, known years ago as Mr. Benjamin, arrested and convicted so that he could kidnap Benjamin’s wife and baby daughter for his own sexual predilections. On returning to London Todd quickly learns that rather than be forced to submit to the disgusting Turpin, committed suicide, poisoning herself. Baby Johanna was not quite so lucky, however, as Turpin “adopted” her as his ward. Now a grown woman, Todd vows to save Johanna from Turpin’s clutches, and thanks to a smitten young sailor named Anthony who befriended Todd after rescuing him at sea, will have more than enough help in his homicidal adventure.
Johnny Depp IS Sweeney Todd. With Depp, just when you think he can take the bar no higher, create no character more fantastical, he does and here he does so with unabashed aplomb and delicious decadence. So, George, Tom, Frank – – – – you can all stay at home Oscar night as that little golden Best Actor statue is going home with Johnny Depp. For my money there is no one else who could ever play this fantastical soulfully demonic character laced with sweet innocence and glee. Wielding his rapier wit and individualized stylings with the flash and glint of a straight-razor, Depp conjures up imagery of some of his greatest characters with everyone from Edward Scissorhands to Captain Jack Sparrow and the tosses in a little deranged Mozart and Beethoven and Cruella deVille. He lends acceptable elegance and elan to the blood soaked proceedings and does so with commanding vocals, impeccable stage presence and joyous physical posturing. And who knew he could sing?
Helena Bonham Carter is icing on the cake as the delectable Mrs. Lovett. Known for her own rather unique indelible characterizations (think Bellatrix LeStrange in “Harry Potter and the Order of the Phoenix” for one) as the sensual Lovett, her lust for Todd, love and baking is captivating, ney, even comedically alluring. And her voice? I had no idea. As she has opined herself, her vocal coach is amazing as Bonham Carter is enthralling to hear.
And I’d say we have ourselves a bit of a Harry Potter reunion going on here as everyone’s favorite potionology professor appears as the evil Judge Turpin. Well educated and well travelled, Turpin is at his core, a sexual predator of the most vile kind as he plots to exact his lust on the youthful Johanna. What can I say about Alan Rickman that I haven’t said before. He is masterful. From Hans Gruber to Professor Snape, like Depp, he is liquid gold. Malleable and transformative with a wry wit that compliments and completes every persona. As Turpin, with just enough intonation and contemptability of his “Die Hard” persona Gruber, Rickman is a tasty treat guaranteed to wet your appetite.
And be on the lookout for the over-the-top well-placed ridiculum of scene stealer Sacha Baron Cohen as Signor Adolfo Pirelli. Gleefully egomaniacal to the core, his pomposity is the first to be to cut short by Todd’s straight razor.
Written by a man whose work I have admired, John Logan, together with Stephen Sondheim the two take sarcasm and song to unparalleled levels of excellence. Complimenting the exacting script and score is the artistry and talent of the lead performers and their surprising vocal talents. Each syllable, each tone, each movement is exacting perfection all wrapped in the warmth of a blood colored coat. Key to the success of this film is the delicacy with which Logan and Sondheim have Turpin and Todd dance through the story. Their relationship at times supercedes all others with wicked wonder.
Is there anything I can possible say about director Tim Burton other than just his name that will give you any more of in inkling as to the macabre fantastical creative genius of SWEENEY TODD? Probably not, but I’ll give it a shot. Giving Depp free-reign and making Todd’s barber chair a character unto itself, Burton incorporates corporeal blood letting, innovative lensing and camera angles that include tight framing and extreme DeMille close-ups, and the vivacity of multiple montages to give us a palette of maddening lustful exuberance that buoys Sondheim’s already satiating sarcasm.
Incorporating the beauteous work of production designer Dante Ferretti and the punctuated acid-wash denatured cinematography of Dariusz Wolski, the result is visually breathtaking.
Tim Burton and company have indeed reinvented a wondrous work with an extraordinary vibrancy and vivacity that is to die for. So make a date to meet up on Fleet Street where morality and madness meet. SWEENEY TODD: THE DEMON BARBER OF FLEET STREET. It’s unforgettable.
Sweeney Todd: Johnny Depp Mrs. Lovett: Helena Bonham Carter Judge Turpin: Alan rickman Beadle Bamford: Timothy Spall Signor Pirelli: Sacha Baron Cohen
Directed by Tim Burton. Written by John Logan based on the musical by Stephen Sondheim and Hugh Wheeler. Rated R.
