La bottega degli orrori di Sweeney Todd

I wouldn't have watched this TV remake if it wasn't for Campbell Scott and Ben Kingsley. Knowing that they are both tremendous actors, I was not disappointed by this adaptation! The story is pertinent and clear from the beginning, without unnecessary details and without revealing too much from the very first scenes. The addition of dashing American inspector Ben Carlyle (Campbell Scott) adds a nice twist to the original tale, and satisfies the female romance-craving audience of this horror crime story. With Carlyle's presence and help, the story unravels more interestingly and naturally, whilst also maintaining a classic mystery-horror vibe. The blend of American, Irish, Scottish and English cast is a very fortunate one in this instance, and the American-British romance sub-plot brightens the tale a little bit. The 'justice prevails' positive ending clears the grey London clouds, and leaves the watchers satisfied for good Alice is in good hands.

This version of 'The Tale of Sweeney Todd' reminds me a bit of the retelling of 'Dorian Gray' (2009) with Colin Firth, because of the addition of a subtle love story and the 'good prevails' ending.

I liked this more than did most of the reviewers, but mainly for the visual aspects of the film. First of all, I am not used to TV movies with production values, sets, costumes, and atmospherics on this plane. If this were a theatrical film, it would probably have received a few Academy Award nominations for those sets and costumes, but they are quickly forgotten (as are good performances) in most TV fare. Anyway, this entire film has a claustrophobic and rather dirty atmosphere. One looks at just about every scene, even those taking place a bit away from the general mayhem, and wonders how people could have brought themselves to get out of bed every morning to face another day of such filth, degradation, and mayhem. Even the clean-cut heroine of the film is a barmaid fully capable of twisting a tough man's arm behind his back and throwing him out of the pub in which she works. The people who work in Mrs. Lovett's pie emporium (well, we have to call it something) look like denizens of Hell, and that is no exaggeration, for to a large extent that is what they are. And there is a sense of pure horror that pervades just about every scene and location that is quite outside the secret horror that is going on thanks to Mr. Todd and Mrs. Lovett. Next to this, THE BEGGAR'S OPERA is a day at the seaside! Outside the atmospherics, there are the performances, and with Ben Kingsley, Joanna Lumley and Campbell Scott doing the honors, we are in good hands, even though one might not really wish to remember the first two as characters of this much reprehensibility. Will I ever see Ms. Lumley again without mental recourse to her decaying teeth? But they do their job well, and Mr. Scott, as a character of scant nobility who stands out as a paragon of virtue next to many of the other characters (he's the hero!) also does well in a role that could have been tailored for his dad in his earlier career (but George C. would also have done extremely well as Sweeney Todd at any time). Anyway, not a pleasant viewing experience by a long shot, but should a story about (even unwary) cannibalism be a pleasant viewing experience even under the best of circumstances?

I suppose I should not be too harsh, since this is an American TV movie, and neither a quality British product nor a feature film. But Sweeney Todd was ultimately a disappointment.

On the plus side, the film was enthusiastic about the cannibalism and murder at the heart of the story. These subjects certainly weren't skirted around. Nor were the central characters made into heroes. There was never any doubt that the villainous Mr Todd and his butcher accomplice would pay for their crimes. There was only a faint echo of the modern idea that a criminal is the product of society, and that Todd's crimes were the product of a negligent military. But this was only hinted at.

The major problem was lack of authenticity and a period feel. The Irish street scenes were physically right for early nineteenth century London, but the people were wrong. They were exaggerated characters, caricatures. Everything over over-acted, over directed, over-blown! Basically the director tried too hard to create a period feel.

A good effort, but not good enough. A waste of acting talent

Deranged wig-maker/barber/dentist/doctor (whew!) Sweeney Todd (Ben Kingsley) kills rich Londoners and keeps an abused, mute, pale orphan around as a slave. A hideous-looking, rotten-toothed Joanna Lumley (from the "Absolutely Fabulous" TV series) is his lover and partner in crime, who uses the dead bodies in her famous meat pies. A very bland Campbell Scott is the "American gentleman" trying to clear up a debt and instead stumbles onto the operation. It's all a grim, unpleasant, talky new version of the famous tale that could have used some more comedy, but just barely skims by on some good performances, gore and, especially, excellent costumes and sets that accurately capture rich 19th Century London atmosphere (although it was actually filmed in Dublin, Ireland). The original movie version (SWEENEY TODD, THE DEMON BARBER OF FLEET STREET, starring Tod Slaughter) of George Dibdin-Pitt's stage play came out in 1936 and was followed by the popular Stephen Sondheim musical and many inferior Z movie copies from the likes of Herschell Gordon Lewis and Andy Milligan. This one was backed by the Showtime cable network and there's nothing much to gain from watching it.

Another great rendition of Sweeney Todd. It's great to see stories that can be retold and remain interesting. This throws out the idea of Sweeney as a victim, or his looking for revenge. This is much more in keeping with the original tail. A man that murders for greed. The best part about this film is that is doesn't try to justify the actions or make us sympathise with Todd. He's a terrifying and grotesque creature. Cold, calculating and very deceptive. The investigation narrative is just as interesting as Todd's deeds. I'd still put it behind Winstone's Sweeney Todd, due to the sheer power of that production, but it stands above and shits upon Burton's misfire.