Sweeney Todd

Although some have tried to argue that he was an actual person, it seems likely that the story of a throat-cutting barber named Sweeney Todd arose first as a bit of urban myth that was developed into an 1846 story titled THE STRING OF PEARLS by writer Thomas Prest. A year later the story was adapted to the stage as SWEENEY TODD, THE DEMON BARBER OF FLEET STREET. It proved a popular ticket, and in age that knew little of copyright law, versions of the play were soon springing up all over the place, each one tweaking the story a little bit in the process. Consequently, it is almost impossible to say that any one particular version is "more authentic" than any other.

In this particular version, filmed for BBC in 2006, Todd (Ray Winstone)is a barber who spent twenty years in prison for a crime he did not commit. Released, he finds himself shaving a prison guard and on sudden impulse slits the man's throat. One thing leads to another, as you might say, and he soon makes the acquaintance of bake-shop worker Mrs. Lovett (Essie Davis); his fondness for her not only leads him to set her up in her own business, but to supply the occasional cut of meat as well. The twist to this particular version of the story is in the relationship between Todd and Lovett, the latter of whom is more sinned against than sinning.

The script is quite clever, essentially winding most of Todd's motives (including his interest in Mrs. Lovett) around his own mistreatment while an inmate of the notorious Newgate prison, and both Winstone and Davis are extremely impressive in their performances. But for all the blood, and there is aplenty, and for all the sex, and there is some, the film looks exactly like what it is: a made-for-television movie. It is also rather slow and quite often a bit too "stiff upper lip" for its own good.

The DVD release offers a good transfer but, excepting cast credits, nothing in the way of bonus material. Those interested in the various directions the story has taken will find it intriguing, but most others will likely be only mildly interested.

GFT, Amazon Reviewer

You believe in every one of the characters in this movie, as well as this being historical London. (Which it may or may not have been- the story may well be nothing but urban legend, of course.)

Ray Winston does a great job. He has done so often enough, but this one is my favorite, so far.

It's actually pulled off portraying the 'mad barber' as a kindhearted fellow who's really only slightly disturbed (aside from being plenty homicidal) in such a way that you believe it, extreme as it sounds. Well, I certainly did, at least. All thanks to very good acting and character development.

In sum, I found this movie to be far better than the musical edition of the same tale, starring Johnny Depp. But then, I always prefer psychological credibility over costumes and singing.

18th century London is a rottenly decayed and scummy city that has a horrific secret. The stoutly quiet Sweeny Todd is a well renown barber of London. Supposedly the best, as customers come and go with nothing but high praise for his fluent skills. One day, he basically loses it after some childhood memory triggers a reaction to slit a customer's throat. He cuts up the body and chucks into the river. Then he goes on as if nothing as happened, but these sudden outbursts soon become a pattern. Mrs Lovett has caught his eye and they form a relationship, where he helps her start up a bakery shop near his shop. So now, Todd is providing her with the meat, unknown to her that they are his leftovers.

Fact or fiction is the question of this horror figure? This legendary serial killer figure is the central attraction in this boldly inventive and refreshing British TV feature of the grisly exploits and humane reactions of Sweeny Todd. What could have been just another formulaic story, treads the very well because the thoughtfully encouraged script is brought to life by sensationally characterised performances and a richly atmospheric Victorian setting that reeks with an grimly morbid discharge. The ugliness and the earthly dour colours of it only enhances the cold nature and violently graphic carnage that awaits. It could have gone over board with its unpleasantness, but in the long run the killings do actually play second fiddle to the bustling characters and their complex inner goings. Largely Todd's past. These moments of violence are no more than short and precise bursts that maintain brute force in their confronting depictions.

Giving more weight to the black and white premise are the actors themselves. Their textured performances would go on to help those harrowing examinations become truly stimulating and the ingeniously plotted story strikes up a provocative script (by Joshua St. Johnson), which they shape off and morph expertly. Streaming throughout is an claustrophobic build up in the film's hardboiled direction by David Moore and the tension he does orchestrate is plain nerve wrecking. Ray Winstone's scarred performance is emotionally powering and increasingly deep, despite his understated take of the character. He plays it humbly calm, but when the cracks appear Winstone does it with great integrity and menace. Essie Davis' upfront and igniting performance is nothing but excellent as the whore Mrs Lovett who desires any sort of companionship she can get. There seems to be a strong (and at times surreal) sexual charge between the two that's interestingly displayed. The compelling supporting cast do their jobs. David Warner is professionally solid in a strictly mild turn and Tom Hardy is sincerely perfect in his role as an up-and-coming police officer. The film is stylishly photographed and can become intrusively lingering when it wants to capture that scummy tenor with visual punch. The trance-like musical score is beautifully harmonious and demonstrates some otherworldly cues that only adds more to the brooding nature.

"Sweeny Todd" the director's cut is an exceptionally high quality TV presentation, which is meaningfully acted, unpredictably written and daringly directed. Highly recommended.

Sweeney Todd, a resident barber of London, has an urge inside of him to kill. As it grows and grows, he comes to fancy a young woman whom he cannot have -- both because she is married and because he is not physically capable. As they grow closer, he lets her in on his secret and a macabre friendship is born -- one a butcher and the other a maker of meat pies.

Ray Winstone is perfect as Sweeney Todd. I don't know him from much outside of "The Proposition" (which everyone loves, but I found disappointing). He has the look of a man worn down by time and heartache, cold enough to kill but sad enough to drive us to sympathy. Other people may picture Todd differently, but I think this look fully captures the darkness and emptiness of the man. All the characters have a very dirty look to them, which I also like -- no perfect conditioning in the hair and daily bathing rituals. I like it raw, and this film gives it to me.

This is not a musical version but simply a film with a dark tale to tell. It interests me to see how this one was presented. As I understand it, the original story came from the 1820s or 1840s. Yet, this film version touches on themes like abortion and the complete absence of God, which I would presume to be quite heavy for the time (though I may be mistaken).

The denial of God, morality and such is the driving force of this film compared to other versions. It's nihilism through and through, which is like the perfect medicine for someone like myself who was raised on heavy doses of Nietzsche, Kafka and Kierkegaard. Horror films often touch the evil in the world and what drives it, but few films -- horror or not -- really get to the deeper philosophic roots of the meaninglessness of the world in our modern time. Some have tried ("Dark City" comes to mind) but this one really hits the spot.

With the Tim Burton and Johnny Depp version having just been released, I presume the BBC version of "Sweeney Todd" will not get as much of a chance. But I would advise you to check it out and compare -- one is a musical, one is not. And Burton, while dark, has his own way of looking at the world. So you're not really seeing the same film twice so much as viewing an entire world fro ma different perspective, something I think is healthy for all of us to do time and again. Give this one a shot, it packs a wallop you cannot deny.

This was a reasonable production of an excellent musical, but I recommend the George Hearn / Angela Lansbury version every time.

In a previous comment, alan_cricketman4 from Belfast UK, states: "I can understand producers using artistic licence and having to cut details and chronologically alter events etc., but to change the facts of such a well known and well documented case is just downright silly. I suggest that very little research has been applied here (by producers and reviewers alike) and a good website to browse, and learn further details on the case, is "Court TV CRIME LIBRARY"."

I fact, Sweeney Todd was universally accepted to be an 'urban myth' up to about 1993, due to the lack of other evidence. In 1993, a new book, was published. Of this book, Wikipedia says:

"In his 1993 book Sweeney Todd: The Real Story of the Demon Barber of Fleet, the horror and crime story writer Peter Haining argues that Sweeney Todd was a historical figure who committed his crimes around 1800. However, other researchers who have researched his citations find nothing in these sources to back up what Haining claims they said".

I realise that Wikipedia is not always entirely accurate, but I think it is fair to say that what Mr Haining has done is researched a theory about the origin of Sweeney Todd, which is worthy of consideration, but far from accepted historical truth.