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shadowkatHappy 2008! And a not so fond farwell to 2007, we'll speak of it no more. Am hoping that this bids adieu to what can best be called my 7 year stretch of bad luck. Methinks I must have broken a mirror or something in 2000, which was the last great year I had.
Had a blast this New Year's Eve - did something different, went up to a restaurant in West Harlem, called Antoinett's to hear a friend of a friend sing. Name of Lissa who sings with a small jazz quartet and does a great Billy Holiday. No more than 25 people in the place, so we avoided the crowds, but got the good cheer. Towards midnight - Lissa sang a song I hadn't heard in a long long time - the title of this entry and it fit my mood perfectly. How long it will last, I don't know. Life is a day by day affair I've discovered. Completely unpredictable.
On New Year's Day, I went to see Sweeny Todd with a close friend. We'd been told the night before that it was great, and I've read such mixed reviews of it - I admit I was curious but uncertain what to expect. I enjoyed it by the way, quite a bit, which is saying something considering I had to contort my body in such a way that both my legs could go in the aisle since my legs would not fit behind the seats. (They were designed for people who are 5'3 -5'8 inches tall.) My friend also enjoyed the film, although she was more comfortable - being 5'3 inches.
Will you? (Assuming of course you haven't already seen it and written your own review.)
Well, I've come to the conclusion that if you adore the Angela Langsbury/Len Cariou version you probably won't like it, may even hate it depending on how much you adore that version. Have yet to meet anyone who adored that version that likes Burton's.
But if - you have never seen the Angela Langsbury version (like my friend) or don't remember it or better yet, don't like it. You may enjoy even love Burton's version. It helps of course if you happen to like Tim Burton films, Sondheim songs, musicals, Johnny Depp, and have a dark sense of humor. My friend and I, to some extent, fit most of those qualifications.
I have a confession to make - I am not a fan of the Angela Langsbury/Len Cariou version. Yes, I've seen it. Twice and trust me, that was more than enough. I'm not a fan of Langsbury's musical work, I find her singing voice too nasal and grating. And Cariou - I think is overrated. (Yes, I know, blasphemy. Hence the reason I've never said anything. Don't care enough to argue about it with theater enthusiasts.) Also in college - we did the Ballad of Sweeny Todd - as one of several musical acts in a musical revue. I loved the selection that was done and could not wait to see the whole musical. Then I saw the Langsbury/Cariou version, and well, was disappointed. One of those situations where what is in your head is not what you see presented upon the screen.
My friend - who saw the Burton flick with me - has never seen Sweeny Todd and is not a huge fan of musicals. She likes Opera and likes play musicals such as Caberet. She also adores Johnny Depp.
Another thing that helped - was I only vaguely remembered the story having last seen it over ten years ago, while my friend had no clue what it was prior to seeing the movie. Thrillers tend to be more thrilling if you don't know what is going to happen next. As a result, we were suprised by the twists and turns, and thrilled by the outcome. We also weren't waiting for favorite songs or moments.
The only thing I sort of missed was "The Ballad of Sweeny Todd" which if you are at all familar with the musical version you know is sung twice (at least I think it is, I remember seeing it sung twice at the revival concert) - once at the beginning and once at the end. I love that song. But, I don't think it had any place in the movie - since it more or less gives away the entire plot. My friend, who was unfamilar with the musical, did not understand why you would introduce the musical with a song that gives away most of the plot. I tried to explain that it's a different medium. Unlike the film - where you can show people everything with visual images - on stage you sort of have to get people to imagine the setting. In the film - you can show with lighting, set design, make-up and cinematography that Sweeny is not a happy camper. On stage - that's a bit hard to get across to the back row. Suffice it to say - the ballad works on stage but would not have worked on screen - so instead Burton wisely uses the melody as background music and overture. Repeating the song at the end, likewise would not have worked, since it would have taken something away from the last scene which is visually striking.
Sweeny was not as over-the-top as people had told me. I was expecting something more in line with Charlie and the Chocolat Factory or Batman Returns. This was actually pretty tame. And I felt the malice, that the New Yorker critic did not see in Depp's performance. If anything I found Depp more frightening and malicious in the role than Cariou. Same with Helena Bonham Carter - she pulled at my heart more than Langsbury did, and I felt how trapped she was. Also her voice got across a sort of melancholy wistfulness tinged with a sardonic sense of humor. Depp and Carter, much like Langsbury/Cariou, look a great deal alike in this presentation. They are made-up in such way that they almost look like siblings, symbolizing their odd connection in mad despair.
Sweeny is not for everyone. It's a grisely black dramedy with a tragic ending. The music provides the humor - which Burton does a good job of highlighting with visuals. The bright red of the blood. The casual way Sweeny shaves his victims. One of the best songs is a duet with Sweeny and Lovett, that does a nifty twist on that old joke "To Serve Man".
A couple of the negative reviews I've read complained about the fact that Sweeny doesn't see the old homeless woman when he first arrives or thereabouts - which is what happens in the theater version, but it didn't bother me. If anything - I think it works that he doesn't see her until the very end. (She's around and near him, but never really talks to him). It's actually realistic that someone who is so sunk in despair and loathing they would not be aware of anything outside of that loathing and despair. She'd be invisible to him unless she literally invaded his space in such a way that he had to deal with her, but not necessarily see her as much more than an obstacle. So for me? It worked. But again, I don't remember the story that well, so was able to get absorbed in the presentation.
Another criticism was the actors portraying the roles and the suitability of their voices for the parts - again, I disagree. I loved the voices. Pretty Women is sung to great effect by Depp and Alan Rickman as the Judge. And Bonham Carter's voice managed to amuse and tear at my heart strings in a way that Langsbury's never did. I love her rendition of The Worste Pies in London, and A Place by the Sea. Langsbury made me roll my eyes, while Carter made me smile and laugh. Also Depp's song - My Friends...moved me. And, I'm not a huge Johnny Depp/Helena Bonhem Carter fan. Did not like their voices much in Corpse Bride. But here - I thought they were brilliant. Went in expecting to hate them, had the opposite reaction.
The little boy Timothy - usually played by someone much older - worked much better here in my opinion. It works for me that he's younger - makes more sense that's he trying to escape the work house. Never really worked that he was played by people in their twenties on stage - because a twenty-year old would not have been indentured or afraid of the work house. Nor would they be as dependent on Mrs. Lovett. On-stage the Lovett/Timothy relationship has an odd sexual connotation, because of the age of the male actor, that didn't quite work for me, here it's more of a mother-son. You get the impression Lovett is creating her own little family with Sweeny and Timothy, yet realize that it can never be more than illusion. (I have a feeling that Sondheim would have approved someone younger playing the part on stage but due to child labor laws and other difficulties, was stuck with an older performer.)
I didn't notice the cuts Burton made. So I think they were probably only noticeable to people who have seen the stage version several times or have a good memory of it. They aren't to anyone who hasn't or doesn't remember it that well.
Overall rating? A
Had a blast this New Year's Eve - did something different, went up to a restaurant in West Harlem, called Antoinett's to hear a friend of a friend sing. Name of Lissa who sings with a small jazz quartet and does a great Billy Holiday. No more than 25 people in the place, so we avoided the crowds, but got the good cheer. Towards midnight - Lissa sang a song I hadn't heard in a long long time - the title of this entry and it fit my mood perfectly. How long it will last, I don't know. Life is a day by day affair I've discovered. Completely unpredictable.
On New Year's Day, I went to see Sweeny Todd with a close friend. We'd been told the night before that it was great, and I've read such mixed reviews of it - I admit I was curious but uncertain what to expect. I enjoyed it by the way, quite a bit, which is saying something considering I had to contort my body in such a way that both my legs could go in the aisle since my legs would not fit behind the seats. (They were designed for people who are 5'3 -5'8 inches tall.) My friend also enjoyed the film, although she was more comfortable - being 5'3 inches.
Will you? (Assuming of course you haven't already seen it and written your own review.)
Well, I've come to the conclusion that if you adore the Angela Langsbury/Len Cariou version you probably won't like it, may even hate it depending on how much you adore that version. Have yet to meet anyone who adored that version that likes Burton's.
But if - you have never seen the Angela Langsbury version (like my friend) or don't remember it or better yet, don't like it. You may enjoy even love Burton's version. It helps of course if you happen to like Tim Burton films, Sondheim songs, musicals, Johnny Depp, and have a dark sense of humor. My friend and I, to some extent, fit most of those qualifications.
I have a confession to make - I am not a fan of the Angela Langsbury/Len Cariou version. Yes, I've seen it. Twice and trust me, that was more than enough. I'm not a fan of Langsbury's musical work, I find her singing voice too nasal and grating. And Cariou - I think is overrated. (Yes, I know, blasphemy. Hence the reason I've never said anything. Don't care enough to argue about it with theater enthusiasts.) Also in college - we did the Ballad of Sweeny Todd - as one of several musical acts in a musical revue. I loved the selection that was done and could not wait to see the whole musical. Then I saw the Langsbury/Cariou version, and well, was disappointed. One of those situations where what is in your head is not what you see presented upon the screen.
My friend - who saw the Burton flick with me - has never seen Sweeny Todd and is not a huge fan of musicals. She likes Opera and likes play musicals such as Caberet. She also adores Johnny Depp.
Another thing that helped - was I only vaguely remembered the story having last seen it over ten years ago, while my friend had no clue what it was prior to seeing the movie. Thrillers tend to be more thrilling if you don't know what is going to happen next. As a result, we were suprised by the twists and turns, and thrilled by the outcome. We also weren't waiting for favorite songs or moments.
The only thing I sort of missed was "The Ballad of Sweeny Todd" which if you are at all familar with the musical version you know is sung twice (at least I think it is, I remember seeing it sung twice at the revival concert) - once at the beginning and once at the end. I love that song. But, I don't think it had any place in the movie - since it more or less gives away the entire plot. My friend, who was unfamilar with the musical, did not understand why you would introduce the musical with a song that gives away most of the plot. I tried to explain that it's a different medium. Unlike the film - where you can show people everything with visual images - on stage you sort of have to get people to imagine the setting. In the film - you can show with lighting, set design, make-up and cinematography that Sweeny is not a happy camper. On stage - that's a bit hard to get across to the back row. Suffice it to say - the ballad works on stage but would not have worked on screen - so instead Burton wisely uses the melody as background music and overture. Repeating the song at the end, likewise would not have worked, since it would have taken something away from the last scene which is visually striking.
Sweeny was not as over-the-top as people had told me. I was expecting something more in line with Charlie and the Chocolat Factory or Batman Returns. This was actually pretty tame. And I felt the malice, that the New Yorker critic did not see in Depp's performance. If anything I found Depp more frightening and malicious in the role than Cariou. Same with Helena Bonham Carter - she pulled at my heart more than Langsbury did, and I felt how trapped she was. Also her voice got across a sort of melancholy wistfulness tinged with a sardonic sense of humor. Depp and Carter, much like Langsbury/Cariou, look a great deal alike in this presentation. They are made-up in such way that they almost look like siblings, symbolizing their odd connection in mad despair.
Sweeny is not for everyone. It's a grisely black dramedy with a tragic ending. The music provides the humor - which Burton does a good job of highlighting with visuals. The bright red of the blood. The casual way Sweeny shaves his victims. One of the best songs is a duet with Sweeny and Lovett, that does a nifty twist on that old joke "To Serve Man".
A couple of the negative reviews I've read complained about the fact that Sweeny doesn't see the old homeless woman when he first arrives or thereabouts - which is what happens in the theater version, but it didn't bother me. If anything - I think it works that he doesn't see her until the very end. (She's around and near him, but never really talks to him). It's actually realistic that someone who is so sunk in despair and loathing they would not be aware of anything outside of that loathing and despair. She'd be invisible to him unless she literally invaded his space in such a way that he had to deal with her, but not necessarily see her as much more than an obstacle. So for me? It worked. But again, I don't remember the story that well, so was able to get absorbed in the presentation.
Another criticism was the actors portraying the roles and the suitability of their voices for the parts - again, I disagree. I loved the voices. Pretty Women is sung to great effect by Depp and Alan Rickman as the Judge. And Bonham Carter's voice managed to amuse and tear at my heart strings in a way that Langsbury's never did. I love her rendition of The Worste Pies in London, and A Place by the Sea. Langsbury made me roll my eyes, while Carter made me smile and laugh. Also Depp's song - My Friends...moved me. And, I'm not a huge Johnny Depp/Helena Bonhem Carter fan. Did not like their voices much in Corpse Bride. But here - I thought they were brilliant. Went in expecting to hate them, had the opposite reaction.
The little boy Timothy - usually played by someone much older - worked much better here in my opinion. It works for me that he's younger - makes more sense that's he trying to escape the work house. Never really worked that he was played by people in their twenties on stage - because a twenty-year old would not have been indentured or afraid of the work house. Nor would they be as dependent on Mrs. Lovett. On-stage the Lovett/Timothy relationship has an odd sexual connotation, because of the age of the male actor, that didn't quite work for me, here it's more of a mother-son. You get the impression Lovett is creating her own little family with Sweeny and Timothy, yet realize that it can never be more than illusion. (I have a feeling that Sondheim would have approved someone younger playing the part on stage but due to child labor laws and other difficulties, was stuck with an older performer.)
I didn't notice the cuts Burton made. So I think they were probably only noticeable to people who have seen the stage version several times or have a good memory of it. They aren't to anyone who hasn't or doesn't remember it that well.
Overall rating? A
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no subject
Date: 2008-01-03 03:06 am (UTC)Here's the reason I'm personally upset by that particular cut. In the original, Sweeney gets off the boat and immediately runs into the Beggar Woman. She says, "Hey, don't I know you, Mister?" And he doesn't look her in the face, shunning her, "Why must you glare at me, woman? Off with you, off I say!" Now, if he hadn't been so absorbed with his own anger and hatred, he would have noticed who she was right then and there, and none of the awful things would have happened. The key to the plot's unraveling is in the first moment of the story. It is structurally brilliant, and also leads to an truly shocking moment in the theatre when she says it again right before he slashes her throat and we finally realize the implication. And the fact that he doesn't realize who she is, because he's too absorbed with himself to look her in the face is stronger, to me, than not having her at the start at all.
no subject
Date: 2008-01-06 03:22 am (UTC)I argued that Sweeny didn't care about his daughter. His comment at that point was - that he lost the Judge and so he kills others, since everyone in the world is vermin.
Equally I don't think the beggar woman scene is necessary - from the moment he enters the film, his song - about London and what he focuses on in that song - makes it obvious why he has returned and what his intent is. He is not returning to reunite with his family. He isn't even looking for them. He doesn't visit the Judge, he doesn't search them out. EVER. He doesn't even ask Mrs. Lovett so much as she volunteers the information. And once he gets it - it is Anthony who begs his help to save his daughter and he doesn't grant his help, Mrs. Lovett does, and he only goes along because he sees it as a way to the Judge. All Sweeny cares about is hurting those who hurt him. He cares nothing else. I did not need the beggar woman scene to get that across.
I suppose it depends on how you view the character - my friend believed Sweeny could be redeemed that there was a point before Anthony interrupted him that he would have had a less tragic ending. And you believe if he recognized his wife as the poor deluded beggar woman, he would have taken another path. I don't see that - if he'd recognized her - he would have done the same things. It was too late. Sweeny is a bit like the Count of Monte Cristo, but in some ways far more tragic, he became worse than the monsters who condemned him. Ironically - they won. And he made that choice in prison, while away, long before he hit British soil.
no subject
Date: 2008-01-08 01:50 pm (UTC)From the script...
Todd: Would no one have mercy on her?!
Lovett: So it is you--Benjamin Barker.
Todd: Not Barker! Not Barker! Todd, now. Sweeney Todd. Where is she?
Lovett: So changed! Good God, what did they do to you down there in bloody Australia or wherever?
Todd: Where is my wife? Where's Lucy?
Lovett: She poisoned herself. Arsenic from the apothecary on the corner. I tried to stop her but she wouldn't listen to me.
Todd: And my daughter?
Lovett: Johanna? He's got her.
Todd: He? Judge Turpin?
Lovett: Even he had a conscience, tucked away, I suppose. Adopted her like his own. You could say it was good luck for her...almost.
Todd: Fifteen years sweating in a living hell on a trumped up charge. Fifteen years dreaming that, perhaps, I might come home to a loving wife and child. Let them quake in their boots--Judge Turpin and the Beadle--for their hour has come.
no subject
Date: 2008-01-08 05:10 pm (UTC)I remember telling my friend the other night - that the original version portrayed Sweeny as a more *romantic* figure, less mad, less cruel than both the revivial and the screen adaptation. It's an interesting choice. For some reason or other, I prefer the darker version of the character, the less romantic version portrayed by Len Cariou. It grips me more.