O Barbeiro de Londres

This TV-movie ranks as one of the two best versions of the classic tale of Sweeney Todd, the other one being - of course - the 1936 black-&-white movie starring Tod Slaughter.Ben Kingsley and Joanna Lumley are terrific - and their approach of the famous characters is in the true spirit of horror melodrama: a perilous "exercice de style" between horror and comedy. All the other actors are excellent, the sets are wonderful in their creepiness, a touch of gore is added to good measure, and Schlesinger's direction is faultless. This TV-movie could be shown in movie theaters, as a "legitimate" picture - in fact, it's well above most of the current movies...

Incidentally, this version is an Irish-British coproduction, certainly not "an American production" as wrongly mentioned in some posts.

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 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.

This is a mildly diverting take on the Sweeney Todd tale with good performances by Ben Kingsley in the title role, and Joanna Lumley as an enterprising Mrs. Lovett with rotten teeth. Those of you who have seen the recent Depp movie and/or the Broadway version will find that the back story has been changed completely. Not wanting to give anything away, I will only say that the Swiftian social satire element of the original Sondheim version has pretty much fallen by the wayside.

Users here comment on the convincing 19th century atmosphere, but judging by the costumes and wigs, the setting is clearly late 18th century London and not 19th century Dublin although the movie was filmed there. There is even a small reference to the French Revolution so I would place it in about the 1790s. Having said that, costume, street scenes and general filth look very true to the late 1700s.

Unfortunately, the anemic musical score is not a good one and it actually detracts from the horror and ghoulishness of the film. On the other hand, the film is a good deal less gory than the 2007 version which may make it more appealing to the squeamish.

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.