Sweeney Todd: The Demon Barber of Fleet Street

Tim Burton has gone beyond himself and anything he has ever done. "Sweeney Todd" is stunningly beautiful. Dark? yes, bloody? sure! but then we're in Victorian London where everything is what it appears to be no matter how turgid. The meeting of Mr Todd and Mrs Lovett is so scrumptiously conceived that I'm sure will be one of those film moments that are used whenever "great film moments" are compiled. Johnny Depp will never cease to amaze me. He is not just the beautiful boy with soulful eyes, but a great actor. How extraordinary that two talents like Burton and Depp should meet at the perfect moment in time. How lucky for us! Mrs Lovett is played by another extraordinary actor: Helena Bonham Carter. She is spectacular! Sacha Baron Cohen, Alan Rickman and in particular Timothy Spall add to the perfection of this film. Dante Ferreti, the production designer and Coleen Attwood, the costume designer, deserve all the kudos they are getting and will get. Glorious!

I approached Sweeney Todd with trepidation, having been underwhelmed with most of Tim Burton's recent output and every screen musical of the last decade. The biggest problem I have with Burton's films is that his screenplays rarely manage to pull their disparate elements into a satisfying whole. Here, despite adapting the material to his own sensibilities and shortening the play by an hour, he adheres closely to Sondheim's book, resulting in the most dramatically satisfying film Burton has ever made.

I liked the adaptation of the off-off Broadway Hedwig and the Angry Inch, but have been left underwhelmed by all the recent big budget film musicals, so I'm glad to say that Sweeney Todd, wipes the floor with every major screen musical of the last decade, including the likable if over extended Hairspary. Most surprising is how shockingly gruesome the the film becomes in the second half. This must be the most blood drenched film since Shogun Assassin, with arteries spurting blood like like fountains as throats are cut, with the violence escalating towards the end leading towards a climax that is exhilarating, heartbreaking and satisfyingly bleak.

Unlike the dreary dirges Danny Elfman supplied for Burton's stop frame musicals, Sondheim's score is a joy to listen to from beginning to end, its dark romanticism sometimes reminding me of Bernhard Herrmann, perfectly fitting what is both a musical and a horror film in equal measures.

Depp and Bonham Carter are both excellent and it's down to their performances that I never quite lost sympathy with them in their descent into madness, blood lust and cannibalism.

Musical haters may not be converted as 75% percent of the dialogue is sung, but this completely dispatches any notion of cloying sentimentally the genre is often associated with.

As it happens more often than not, greatness is relegated to some obscure angle. In a year of brilliant opuses by the Cohen Brothers and PT Anderson, this Tim Burton film shines as the best from every angle. It's not just that Burton creates another superb, dark universe with Dante Ferretti's complicity or that Johnnt Deep breaks new ground, or that Helena Bonham Carter surprises us with a complex, marvelous realistic parody. The film touches visually a very private cord. Ed Wood managed that but Tim Burton with "Sweeny Todd" elevates it to the purest form of art. He will be punished for that, as Ed Wood was in its day. Disappointing grosses in a world that worship grosses will make it appear as a sort of a failure. My advise to you is run to see it wherever you can find it. Try to see it in a big screen with great sound. You will fly and dream and be taken away by the masterful hands of Tim Burton and the glorious faces of Johnny Depp and Helena Bonham Carter.

"Sweeney Todd: The Demon Barber of Fleet Street" is one of the best musical films ever made and probably the last truly excellent Tim Burton effort in directing. It's a romantic and enthralling vision of the dark perspective about life and death for the poor people controled by the privileged, cruel and envious society. It finds a inspired Johnny Depp in probably his best performance of this century. Helena Bonham Carter, Alan Rickman and Timothy Spall compelte this luxury cast, which is one of the most talented one assembled in a musical!

"At last, my arm is complete again." Sweeney Todd as he admires one of his efficient razors after a long absence.

I'm not sure Tim Burton's Sweeney Todd is "grand," but I'm confident it's in the best Grand Guignol tradition of sensational stage horror given its name from that little theater in early 20th century Paris that specialized in sensationally ghoulish productions. I am also sure that no one in film is better able to play the titular butcher than the shape-shifting, ever-naughty Johnny Depp.

The opening song "No Place Like London" hints to Anglophiles like me that it won't be my usual tour of West End theaters, rather a seedy, dangerous place where Mac the Knife would be more at home. Throughout the musical, Steven Sondheim's lyrics expressively revel in the amoral, throat-slicing world that Sweeney and his adoring meatpie lady, Nellie Lovett (Helena Bonham-Carter), wallow in as he prepares to take revenge on the equally amoral Judge Turpin (Alan Rickman), who dispatched Todd to prison early on to get his beautiful young wife. Hence Sweeney's revenge inclination.

Sweeney's lyric best expresses the wildly murderous world, hardly the usual province of musicals: "Alright! You, Sir?/No one's in the chair come on, come on/Sweeney's waiting/I want you bleeders./You sir! Too sir?/Welcome to the grave./I will have vengeance./I will have salvation . . . ." Yes, it's Sleepy-Hollow, Corpse-Bride Tim Burton's movie with blood spouting like red paint from a pressure gun contrasting the somber, almost black and white underside of London. When one of the children bites into a pie with a finger in it (shades of our contemporary law suits!), the audience doesn't even gasp, given the omnipresence of bloody bodies.

There is no more interesting musical this year, even considering the enchanting Once. In the end, it is unsettling, unsavory, and unusual. Burton does better than anyone else in juxtaposing horror with innocence.