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shadowkatThey are caroling on my flist. Yesterday while on our way to walk on the beach, my mother started singing along with a carol on the radio, she rarely does that. The carol is not necessarily specific to Christmas, but it does tend to be religious in character...
Here it is:
Let there be peace on earth,
and let it begin with me.
Let there be peace on Earth,
the peace that was meant to be.
With God as our Father,
brothers all are we,
Let me walk with my brother,
in perfect harmony.
Let peace begin with me,
let this be the moment now.
With every step I take,
let this be my solemn vow,
To take each moment and live each moment
in peace, eternally.
Let there be Peace on Earth,
and let it begin with me.
Words and Music by Jill Jackson and Sy Miller, Circa 1955
Last night visited Glenn Kenny's Year-End Best of Movie list - you can find it on In Company of Glenn and this system is too slow for me to find the link again and copy it here. The run-down? I only remember four of the films he listed, none of which I've seen. But if you have and disagree - feel free to hop over to his blog and argue with him about it. He appears to want that.
(Just don't tell him that I told you to.)
The four I remember are: No Country for Old Men, There Will Be Blood, I'm Not There, and Sweeny Todd.
The one that I find the most interesting is the mention of Sweeny Todd.
The *lj* non-professional critics don't appear to like it that much, while the print and professional critics appear to love it, so much that its been making their ten best list. This is not the only list I've seen it on.
The online/offline critical response to the film version of Sweeny Todd is oddly similar to the response to the Doyle theatrical revival - which starred Michael Cervis and Patti Lupone as patients in an aslym for the criminally insane doing the show, while playing musical instruments. This version is not unlike that one in that it is a creative adaptation of the work in which the filmmaker does not attempt to recreate the popular Len Cariou/Angela Langsbury version but does something brand new with the piece. Burton much like Doyle - has decided to do an *interpretation* of a play that he loved. Showing how he perceived it and why he loved it in the process. So when we see the work - what we should see is not just the work of Sondheim, but also Burton's own take on it, own experience of it. As a result *purists* or fans of the original, who dream of seeing the original on film, will probably not appreciate or like this new version. While those who were either ambivalent about the original, don't remember it, or have never seen it - will enjoy the new version. And of course there are those of us in between who will like all the versions.
It is worth keeping in mind that the original creator, Stephen Sondheim, loves the new adaptations of his work. In Burton's case - Sondheim not only approved the choices Burton made, stating that the introductory song (the Ballad of Sweeny Todd) was not necessary in a film version not to mention a bit out of place, but also in some regards advised Burton to make these choices and to cut the songs and scenes that he did. Sondheim is an interesting creator - he appears to prefer to see his work adapted and altered in new ways as opposed to being recreated in the same way over and over again. It is one of the many things I love about Sondheim. I also agree with him - a good adaptation should reflect and comment on the original work not look exactly like it. But then I'm not a cultural purist.
Another point worth noting about Sondheim - is that people Sondeheim has cast aren't necessarily great singers. In the original Broadway version of A Little Night Music - Glynnis Johns sang the lead of Desiree...her voice is not what I'd call spectacular (not that I'm an expert). Angela Langsbury also is not known for her singing voice, although she is better than Johns. In the film versions? Ah, well West Side Story's leads did not sing - Marni Nixon sang for Wood. And in A Little Night Music - with Elizabeth Taylor - same deal. Why do they do this, you ask? Simple. They need to market the film to a broad audience. Which means they need a *marquee* name to sell it. When West Side Story was made into a film - the marquee names were Natalie Wood and Richard Beemer. I don't think it takes an expert to figure out why someone would cast Johnny Depp in the lead role - his name sells movies. I'm willing to bet there are quite a few people who will see Sweeny just because Depp is in it. Len Cariou? Would get an audience of a hundred people if that.
Haven't seen Sweeny Todd as of yet - depending on time constraints, I may see it with my mother after Christmas off island. It's only playing in one theater down here. And it is more than possible once I see the film, that I may not like it. Won't know until I've tried it, I guess.
Here it is:
Let there be peace on earth,
and let it begin with me.
Let there be peace on Earth,
the peace that was meant to be.
With God as our Father,
brothers all are we,
Let me walk with my brother,
in perfect harmony.
Let peace begin with me,
let this be the moment now.
With every step I take,
let this be my solemn vow,
To take each moment and live each moment
in peace, eternally.
Let there be Peace on Earth,
and let it begin with me.
Words and Music by Jill Jackson and Sy Miller, Circa 1955
Last night visited Glenn Kenny's Year-End Best of Movie list - you can find it on In Company of Glenn and this system is too slow for me to find the link again and copy it here. The run-down? I only remember four of the films he listed, none of which I've seen. But if you have and disagree - feel free to hop over to his blog and argue with him about it. He appears to want that.
(Just don't tell him that I told you to.)
The four I remember are: No Country for Old Men, There Will Be Blood, I'm Not There, and Sweeny Todd.
The one that I find the most interesting is the mention of Sweeny Todd.
The *lj* non-professional critics don't appear to like it that much, while the print and professional critics appear to love it, so much that its been making their ten best list. This is not the only list I've seen it on.
The online/offline critical response to the film version of Sweeny Todd is oddly similar to the response to the Doyle theatrical revival - which starred Michael Cervis and Patti Lupone as patients in an aslym for the criminally insane doing the show, while playing musical instruments. This version is not unlike that one in that it is a creative adaptation of the work in which the filmmaker does not attempt to recreate the popular Len Cariou/Angela Langsbury version but does something brand new with the piece. Burton much like Doyle - has decided to do an *interpretation* of a play that he loved. Showing how he perceived it and why he loved it in the process. So when we see the work - what we should see is not just the work of Sondheim, but also Burton's own take on it, own experience of it. As a result *purists* or fans of the original, who dream of seeing the original on film, will probably not appreciate or like this new version. While those who were either ambivalent about the original, don't remember it, or have never seen it - will enjoy the new version. And of course there are those of us in between who will like all the versions.
It is worth keeping in mind that the original creator, Stephen Sondheim, loves the new adaptations of his work. In Burton's case - Sondheim not only approved the choices Burton made, stating that the introductory song (the Ballad of Sweeny Todd) was not necessary in a film version not to mention a bit out of place, but also in some regards advised Burton to make these choices and to cut the songs and scenes that he did. Sondheim is an interesting creator - he appears to prefer to see his work adapted and altered in new ways as opposed to being recreated in the same way over and over again. It is one of the many things I love about Sondheim. I also agree with him - a good adaptation should reflect and comment on the original work not look exactly like it. But then I'm not a cultural purist.
Another point worth noting about Sondheim - is that people Sondeheim has cast aren't necessarily great singers. In the original Broadway version of A Little Night Music - Glynnis Johns sang the lead of Desiree...her voice is not what I'd call spectacular (not that I'm an expert). Angela Langsbury also is not known for her singing voice, although she is better than Johns. In the film versions? Ah, well West Side Story's leads did not sing - Marni Nixon sang for Wood. And in A Little Night Music - with Elizabeth Taylor - same deal. Why do they do this, you ask? Simple. They need to market the film to a broad audience. Which means they need a *marquee* name to sell it. When West Side Story was made into a film - the marquee names were Natalie Wood and Richard Beemer. I don't think it takes an expert to figure out why someone would cast Johnny Depp in the lead role - his name sells movies. I'm willing to bet there are quite a few people who will see Sweeny just because Depp is in it. Len Cariou? Would get an audience of a hundred people if that.
Haven't seen Sweeny Todd as of yet - depending on time constraints, I may see it with my mother after Christmas off island. It's only playing in one theater down here. And it is more than possible once I see the film, that I may not like it. Won't know until I've tried it, I guess.
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no subject
Date: 2007-12-24 04:05 pm (UTC)When "My Fair Lady" was filmed most people did know who Julie Andrews was, but the studio went with Marni Nixon singing as Natalie Wood again to sell a few more tickets.
(Marni finally got to sing for herself in the movies as one of the nuns in "Sound of Music")
Eep!
Date: 2007-12-24 04:12 pm (UTC)Re: Eep!
Date: 2007-12-24 04:28 pm (UTC)I think they chose Beemer because he'd made a splash in a couple of teen flicks just before that. (Which I don't remember the names of).
Beemer had a few small hits then disappeared until Twin Peaks. Russ Tambolyn - same deal.
Andrews lost out on two musicals - My Fair Lady (Audrey Hepburn got the part and even though Audrey could sing, they decided she couldn't do it well enough and dubbed her. Same thing happened with Natalie Wood in West Side Story - she fought to sing and lost out, they dubbed her without telling her - I think.
Natalie had sung previously in Gypsey - I believe.)and Cameolot which cast Vanessa Redgrave of all people. But this was before Mary Poppins, when Andrews was just a Broadway/London stage name. Mary Poppins changed all that.
no subject
Date: 2007-12-24 05:03 pm (UTC)no subject
Date: 2007-12-26 03:16 am (UTC)Going in expecting it to be bizarre, knowing what I know about Burton (who tends to be more style over substance and experimental in his renderings) and considering the reviews.
Glenn Kenny apparently loved it as did many professional film critics which I find incredibly interesting. Will have to ask Glenn the next time I see him if he saw the famous stage production filmed for PBS.