Sweeney Todd: The Demon Barber of Fleet Street

Ever since its legendary original production in 1979, SWEENEY TODD has been heralded as one of the great masterpieces of musical theatre. Rumblings of a film adaptation have been circulating for years, with directorial duties signed to Tim Burton in the late 90s and Sam Mendes earlier this decade. For a while, there were rumors of Russell Crowe making his directorial debut with the film. Now it has finally arrived, back in Burton’s hands, perhaps the ones best equipped to handle such a piece. SWEENEY TODD will likely come to be known as Burton’s best film, one where his penchant for visuals finally coincides completely with a satisfying story.

Returning to London years after being imprisoned and sent away, master barber Benjamin Barker, now calling himself Sweeney Todd (Johnny Depp), returns to his former shop in hopes of finding his wife and daughter waiting for him. Instead he finds Mrs. Lovett (Helena Bonham Carter), an untalented pie maker whose shop lies below his. She tells him his wife is gone and the judge who sentenced Todd now keeps his daughter. Incensed with fury, Todd vows to get revenge on those who destroyed his family. And he will complete this the best way he knows how; through his skills with a razor.

The material is already filled with the kind of dark macabre humor that Burton is so fond of, and he clearly relishes in it. Every last bit of the film is intricately designed: the art direction and costume design bring Burton’s vision of period London beautifully to life. The masterful production work here is enhanced by Dariusz Wolski’s cinematography. The nighttime images lit seemingly by flames alone send chills down the spine. The color saturation is also something to behold. The film is awash in a colorless world save for a few items; occasional pieces of clothing, a side-splitting trip to the sea with Mrs. Lovett and, most importantly, the blood. Much has been made of the film’s gruesomeness, and it is indeed gory; the violence only gets worse as Todd’s victims begin to pile up. But it never feels out of place; the blood drips like paint, almost glowing in relation to the rest of the image. The violence is meant to make the viewer squirm, and Burton sells that point. It is meant to make you laugh, not scream.

Longtime Burton collaborator Depp contributes another fantastic performance, more layered and affecting than his other recent roles. His Todd is gaunt, single-minded and frightened; viewers will not be trying to guess which figures he’s based his characterization on his time. He successfully is alternately sympathetic and repulsive; his goals are cheered but the monster he becomes is terrifying. His distinctly rock-ish singing voice may not be the best suited for Stephen Sondheim’s score, but he delivers it with the utmost dedication. Like Depp, Helena Bonham Carter is clearly not a trained singer, but instead of ignoring it, she bases her Mrs. Lovett around her weak voice. She is a quiet, desperate woman yearning for companionship but scared to admit it. She imbues her lines with a wearied tone, displaying her sharp comic timing with perfect flat-faced delivery. She also arises much more sympathetic than other Mrs. Lovetts; some of her scenes, particularly ones with the child Toby (newcomer Ed Sanders) are heartbreaking. Together, Depp and Bonham Carter create a subdued couple, but one that works perfectly for the film.

This is the film Burton was born to direct, and he’s pulled it off magnificently. This is thanks in no small part to John Logan’s screenplay, one which is likely to be ignored, sadly. Large cuts have been made from the source, but the transitions are tightly crafted and it doesn’t feel like anything is missing. Even with the cuts, the film remains faithful to its source, sticking in images that will be familiar to fans of the original production. So often Burton has valued style over substance, leading to a handful of films that start off well before going downhill. SWEENEY TODD has none of that; it is compelling from start to finish, at times hilarious, heartbreaking and horrifying. Drawing strength from performances that embrace their performers’ flaws and adapt them, Burton’s film is a tremendous achievement. He has more than merely done justice to the material. The film could not come any better. This could very well be the greatest work Burton has ever done.

****/****