Burton's blood-splattered sing-song cuts straight to the bone

Rating: 9/10 (28 June 2008)

Now, admittedly, I've never been one to neither seek out nor watch musicals. Nor Tim Burton films for that matter. But the revered auteur's take on the infamous legend of London's 19th century barber-cum-bourgeoisie-slayer Ben' Barker (a.k.a. Sweeney Todd), starring frequently used thesps Johnny Depp and Helena Bonham Carter could'nt be avoided, even if tried. I think, though, that most would agree with me when I say that musicals are somewhat of a dieing breed in contemporary cinema, yes? Well, try telling that to Tim Burton, as the master of mise-en-scene appears to be on a personal mission not only to reinstate the genre into the heart of the mainstream but to firmly stamp his mark upon it. And with Sweeney Todd: the demon barber of Fleet Street, Burton's melodious mission would appear complete.
Adapted for the screen by John Logan (The Aviator, Gladiator) from the equally titled hit Broadway musical, this menacing yet witty tale revolves around Sweeney Todd (Depp) a once exiled barber who upon his long-overdue return to London ("there's no place like London") embarks on a murderous path of personal reprisal and saaaaaaalvaaaaaaaation in an attempt to avenge the injustice surrounding his deport and the maltreatment of his family. Returning to his Fleet Street family home only to find that it's been converted into the worst pie shop in London, Todd teams up with Mrs. Lovett (Bonham Carter) the owner of the rundown bistro who allows the blood-thirsty barber to open a private studio above the boiler room where he proceeds to lure disreputable aristocrats ("they alllll deserve to diiieeee") for a swift, close and fatal shave.
Depp, in his 6th and arguably most challenging collaboration with Burton, was hardly a surprise choice for the role of the fluctuating, zany Todd. Good guy, bad guy, drug-lord, pirate, candy-maker, gangster, scissorhandthingy: there's no role Depp can't take on without rendering it idiosyncratic and believable, fresh and memorable. Add "musical barber" to that list, then. For Depp's charismatic, Oscar-nominated portrayal of the ferocious, pallid-faced Todd is awash with humour and horror, colour and darkness. There aren't many actors out there who would be able to embrace the demands of such an uncanny role which requires singing, shouting, prancing and dancing while sporting a face full of slap. And I know what you're thinking: "what about Michael Jackson?", well, sorry, but he isn't an actor. At least not a good one. But Depp is. And sing, shout, prance and dance he most certainly can. As can Bonham Carter who gives an impressive supporting performance as Todd's melodic, pastel-faced cockney counterpart. Alan Rickman and Sasha Baron Cohen also contribute with solid cameo performances. Although Rickman's singing does leave much to be desired
As with the bulk of Burton's previous sets, the decor is not only fitting but unmistakably excellent. Antiquated yet glossy, dark yet dazzling. Imagine a masterful blend between the dimness of Sleepy Hollow and Batman with the sheer charisma of Beetlejuice and Charlie and the Chocolate Factory. Could this be Burton's masterpiece? Perhaps. Whatever it is, it looks simply wonderful. The lighting, locations, costumes, makeup and special effects compliment one another to such a credible extent that the diegetic world crafted by Burton and co. is to die for. Then there's Dariusz Wolski's razor-sharp photography. Working with Burton for the first time, Depp: the third, the Poll's choice of shots are largely incisive and erratic, fast yet operatic and bleed so effortlessly into the melodramatic and cartoon-like content of the sadistic plot. The musical set-pieces, though, are what underscore and, in all honesty, exemplify the film. The vast majority of dialogue is conveyed via song which will displease many mainstream spectators. But lure theatre enthusiasts from the foyers of Broadway and beyond who will most probably take to the style and pacing of the numerous, lyrically gritty and indisputably catchy routines. Imagine, if you will, Oliver on acid with a psychotic, super-human thirst for blue blood. No? Okay, well, see Sweeney Todd for yourself and conjure your own views and opinions regarding the lyrics, form and content of the melodies. I'm no expert. But what I do know is that Tim Burton has taken a dead-beat genre, sliced and diced it thoroughly, marinated it with his midest trademark traits and tossed in two of his favourite thesps to create an eccentric and bloody enjoyable cinematic recipe. Fancy a shave? A quick shave? A close shave? Sweeney's waiting.