I devoutly believe Stephen Sondheim is the greatest songwriter in the history of musical theater (note I do not say "most
hummable"), and "Sweeney Todd: The Demon Barber of Fleet Street" is one of his best works, a darkly comic and truly horrifying tale. Yet though I've seen some great live productions of it, I've never seen the show's rich themes brought to life as vividly as in Tim Burton's new film version. Burton nails it, starting with the casting (Johnny Depp as Sweeney? Helena Bonham Carter as Mrs. Lovett? Perfect!) and continuing with the cold, desaturated colors of Dariusz Wolski's cinematography and the fantasy-nightmare version of 19th-century London as reconstructed by production designer Dante Ferretti and set decorator Francesca Lo Schiavo. Heck, let's mention Colleen Atwood's deliciously grimy costumes and the hair and makeup staff, too! When Mrs. Lovett has a sunny daydream about her and Sweeney relaxing on the seashore, their pale, powdery faces make them look more ghoulish than usual -- a subtle reminder that they do not belong in a place so cheerful. They belong in hell. But look at me, talking about sets and costumes as though I were writing a theater review! Burton's version is not theatrical; it is cinematic through and through, with swooping cameras and color schemes that would be impossible to create in a live setting. And while a live production is limited by logistics and good taste in how much fake blood it can use when the demon barber slits his customers' throats, Burton goes all out. You think "Sweeney Todd" is a bloody story? You have no idea. At least a dozen people meet their maker in that fashion, and Burton shows us every single one of them, never bothering to cut away discreetly or merely hint at the gore involved. His goal is to horrify us not just with the idea of Sweeney's deeds but with the actual sight of them.
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