A worthwhile film in a neglected genre

Rating: 7/10 (22 May 2008)

Cannibalism isn't strongly represented in cinematic history. Other than the Italian exploitation films of the 1980's, there are few examples of cannibalism in cinema. Perhaps with films like Sweeney Todd: The Demon Barber of Fleet Street the genre may gain popularity. I doubt it, but at least this film proves that cannibal films can be sophisticated without excessive violence and gore. While there is violence in the film, it mostly has a comedic effect and occasionally an intensifying one. It is also a great return to the horror genre for Burton, and he improves on the shortcomings he made in Sleepy Hollow.
Sweeney Todd is a daring film for Burton. He hadn't directed a musical before this film (unless one considers Corpse Bride a musical). He also hadn't directed a film where the protagonist is an anti-hero. Fortunately, Sweeney follows Burton's auteur traits. Todd is a lonely man who is disconnected from society. He resides in a realm of dimly lighted sets, and his attempts to reconcile with society are met with hostility, which further isolates him. The sets are darker colors and Gothic. There is also a scene involving a sharpened object extending from the protagonist's hand (Charlie and the Chocolate Factory also has a scene like this). There are also high key lighting flashbacks to develop character back-stories. However, the ending is tragic, which is new for Burton too.
Burton has succeeded in creating a film which blends his quirky approach to dialog and plot succession with ideal music. The "By the Sea" sequence reminds me of Lydia's disinterested mannerisms in Beetlejuice. Even though Danny Elfman didn't compose the soundtrack, it is easy to envision "The Worst Pies in London," "My Friends," and especially "A Little Priest," as Elfman songs. That isn't to say that Burton's films require Elfman's music, but his work adds an ethereal quality to Burton films. A complaint I have about the music is that Depp sounds too close to Jack Sparrow but this similarity isn't too bothersome. Helena Bonham Carter's singing voice surprised me. It sounds lower pitched it did than her role in Corpse Bride. Neither voice is memorable but the film makes up for it with superior acting. I'll not hesitate in saying that the "By the Sea" sequence is utterly hilarious given Depp's believable melancholy and Carter's sensationalized fixation with marrying him.
The characterization is thin, as in most Burton films but it is evident. Todd becomes insane in his quest for revenge, and Miss Lovett also falls into insanity with her unnatural attraction to Todd. Nevertheless, the secondary characters are not as developed as they were in earlier Burton films (Big Fish, Charlie and the Chocolate Factory, The Nightmare Before Christmas, or Ed Wood) which brings me to the only problem I have with the film: Anthony. His role in accompanying Todd to London has no explanation, nor does his interest in Johanna appear genuine. It seems as if Burton included it out of necessity to maintain the plot of the original musical. While his role is necessary in the progression of the film's plot, Anthony's character presents nothing extraordinary. Another method of Johanna's rescue would have sufficed. The other secondary characters also exhibit little change, but since the film is a musical, their lack of development isn't as impacting as it would otherwise be.
Burton should be praised for reviving an infrequently-explored sub-genre: the horror-musical. Another wide-release film of this sub-genre which comes to mind is Little Shop of Horrors. While Burton's film probably will not achieve the status that film has, it will still be enjoyed given the fact that it has so few competitors. A primary difference between the two is the nature of the music itself. Todd uses its music to propel its plot, while Little Shop of Horrors uses its music to satirize the plot. Both are effective, but Burton is a skilled enough director to not use multiple vocalists in the music he chose for the film. This is why so many musicals appear unconvincing. Choral tracks from the Broadway play are not present because they would remove the plausibility of the songs with regard to the serious tone of the film. It is also easier for the audience to blend the plot with the music because the actors are not trained vocalists. Todd sounds normal, so to him, singing is preferred communication, and not an unintended way of poking fun at the plot. This is most notable when Todd walks the street, unnoticed by pedestrians, while singing "Epiphany." This effect achieves verisimilitude in the same way that Oz's multiple vocalists achieve verisimilitude in Little Shop of Horrors. In both films, the audience can accept the music presented because both films successfully incorporate it for their respective purposes.
So, is Sweeney Todd: The Demon Barber of Fleet Street Burton's best film? I don't think so. Ed Wood is my pick, but it is still a vastly entertaining movie which shows Burton's maturity as a director. Gone is the awkward happy ending of Sleepy Hollow. In its place is a realistic ending to a man's descent into madness. While the voice-acting is not the quality of the stage works, it is acceptable and bolstered with fantastic acting (again, see "By the Sea"). I would recommend this film to any fan of Burton and anyone interested in musicals. It's a welcome change from Hairspray and occasionally as amusing as Little Shop of Horrors.