MPAA Rating: R/Genre: Musical Slasher/Stars: Johnny Depp, Helena Bonham Carter, Alan Rickman, Timothy Spall, Sacha Baron Cohen, Jamie Campbell Bower, Laura Michelle Kelly, Jayne Wisener, Ed Sanders/Runtime: 116 minutes

I think it is safe to start this review off by letting you in on yet another teeny tiny little secret of mine dear reader. That being that I love with a passion the 1979 musical Sweeney Todd from the late Broadway genius Stephen Sondheim. Indeed call it perverse, call it twisted, or heck go all the way with it and just call it bleak and not worthy of discussion (though be warned for if you add that there will be people out there who won’t take it even a 1/8th as lightly as I will). For me though, this delightfully sinister saga about a Victorian-era London barber getting his vengeance on all of those who have wronged him courtesy of a rather unorthodox method has always been one that I have cherished and still wish to see performed live one day. Imagine my happiness then to discover that not only was there a cinematic adaptation of this work that had been made, but even more extraordinary than that it was one that starred Johnny Depp and was helmed by no less than Tim Burton. Yet even though the lead actor and the director are, leaps and bounds, easily the perfect individuals to shepherd this particular cinematic project onto the big screen, I guess I was still a wee bit on the worried side dear reader. I mean after all there had been other times where the star and director had been perfect for the project and yet somehow the whole thing still fell apart in a way that was befuddling at best and gasp worthy at worst. Thankfully though dear reader I can definitely say that this slice of cinema is most assuredly not one of those times because I really did dig the heck out of this movie. Sure, there are a few issues here and there to speak of, but the work by the powerhouse cast of players in front of the camera is phenomenal and the work done behind the camera by the equally as gifted crew is no less than cinematic wizardry. Suffice it to say then that the 2007 cinematic take on Sweeney Todd: The Demon Barber of Fleet Street is more than just a film adaptation done phenomenally nor is merely just strictly a treat for fans of its source material. Rather, this is a bloody excellent (pun intended) film period that if you love any of the people involved on either side of the camera or are just in the mood for one of the more engaging and twistedly visceral cinematic musicals of the past two decades then buckle up and hang on tight because you are definitely in for a treat with this one.

The plot is as follows: Taking us back in time to the 1840s, the story of Sweeney Todd gets underway as we find ourselves onboard a ship sailing in to jolly ol’ London. Yet among the vast amount of both cargo and passengers onboard, there is one that is perhaps more worthy of note. That being a sullen and quite enigmatic gentleman calling himself (get this) Sweeney Todd. Mr. Todd, as we soon perceive, has a vested interest in promptly making his way to a property located on Fleet Street because at one time some 15 years prior to the start of our story proper his name was Benjamin Barker and he was perhaps the most skilled barber in all of London. At the same time though, he was also a loving father to a little girl named Johanna and a devoted husband to his beloved wife Lucy. Incidentally is the latter attribute that is important here since it was her that another man, a corrupt member of that special group known as judges, by the name of Turpin also had eyes for despite her being married to Barker. To that end, we learn that the judge quickly framed Barker for a crime he didn’t commit and had him shipped off to Australia so he could claim Lucy for his own. Thus, in case you hadn’t put two and five together, Barker has now discretely returned home to London so that he may hunt Turpin down and have his bloody revenge against the man who took all that he held most dear away from him. Yet, in order to get the unsuspecting judge into his chair once more, we see that our “hero” must put a plan in motion. One that will involve himself, his equally as devious new landlady/partner-in-crime Mrs. Lovett, and the meat-pie shop that she has been struggling to get off the ground for quite some time. Thus can our intrepid barber butcher get his long-sought after revenge or will his lust for blood and vengeance see him get in one close shave too many? That dear reader I will leave for you to discover for yourself…..

Now as truly odd as this slice of cinema’s narrative may turn out to be for those unfamiliar with the source material, it should be noted that in many respects it is one that works phenomenally well. Indeed I think I can safely say that this slice of cinema is one that is truly unlike the vast majority of films that I have seen before or even since complete with potent and very much on-point work being conducted behind and in front of the camera respectively. In regards to the former arena, it should be said that the fact that this is a musical where a lot of the dialogue is sung rather than spoken akin to 2012’s cinematic adaptation of Les Misérables in a way is something that proves to be quite delightful since the content it revolves around is quite bleak and ominous. Suffice it to say that to be able to merge together the visceral slicing of one’s throat whilst also grandly singing about it is a task that I think only a few film helmers could even remotely pull off like Terry Gilliam to name an example. Yet out of that short list of helmers, I think only the iconic talent that is Tim Burton could pull it off as skillfully and majestically as it is done here. Indeed this potent dichotomy of proud and happy singing and visceral bloodshed is quite delightfully distinct, but I do think a fair bit of the credit for that must also go to the musical’s creator, one Steven Sondheim, for finding a way to brilliantly blend together beautiful music, a foreboding plot, a fair bit of blood, and an intriguing cast of characters in such a way that don’t be surprised if you find yourself laughing and cheering as much as holding back tears of sadness as the story goes along. Of course, seeing as this IS an R-rated Tim Burton adaptation of a story about a merciless homicidal maniac who has a fondness for the straight razor, there is quite a bit of blood which is spilt in this. Indeed in a way that might remind you of a Quentin Tarantino film, the violence in this becomes so visceral and brutal that don’t be surprised if you just find yourself getting used to it as the movie goes on. However, lest you think this film is a straight up carnage fest I can safely say that is definitely not the case. I say that because this film is blessed with a truly fantastic atmosphere with streets overwhelmed with fog and the hint of extreme peril that comes with every time your eyes make contact with the sight of Mrs. Lovett’s quasi-sorta cafe definitely reminding me of the creepy locales seen in Burton’s take on Sleepy Hollow from 1999 while a riveting dream scene calls to mind the work done by Burton in Beetlejuice. Along with that, props should also be given to this film’s costume department for not only coming up with some truly phenomenal designs, but also in ensuring that every character’s costume in some way matches them as an individual three-dimensional person. Yes I am aware that the look for this particular film gives off the impression quite consistently that you are viewing a black and white film rather than in color and this can make it hard to discern what is happening at certain points. At the same time though, there is also no denying that this distinct color scheme does aid and enhance the phenomenal work done by the fashion, makeup, and set departments respectively plus I think if it had been told in “the usual format” then the impact the story has might have been significantly negated to an extent. Suffice it to say then that the work being done behind the camera in bringing the world and story of this slice of cinema is no more and no less than hauntingly beautiful as well as pure grade A cinematic magic.

Of course, the other big component working in this slice and dice of cinema’s favor is the fact that it has a cast of players in front of the camera that are all downright incredible in their respective roles. This starts with Johnny Depp in the titular role and, say what you will about the man and his personal life as of late, but there is no denying that he is a phenomenal talent when working with the right material. Suffice it to say that I can thankfully tell you that is most definitely the case here. Indeed Depp manages to bring not only a gravitas and appropriately doom-and-gloom style attitude to the proceedings, but he also contributes a twisted sense of humor at times that even while his character is going out and butchering people left and right you can’t help but chuckle at. Even more impressive than all of that however is the fact that when this film calls on him to sing at certain points he actually isn’t half bad (much to my eardrums’ benefit after having to listen to Pierce Brosnan sing in Mamma Mia a few days prior). I mean who knew that Capt. Jack Sparrow could actually belt out a halfway decent cinematic interpretation of the iconic Broadway tune “My Friends”? At any rate, I know that Depp’s movie choices have been a bit…odd as of late, but this thankfully is easily one of the finest lead performances that he has given us as movie goers. Matching Depp beat for beat though is the equally as brilliantly cast Helena Bonham Carter in the role of Todd’s landlady/partner-in-crime Mrs. Lovett. Indeed I know that there have been many different takes on this iconic character, but in Carter’s hands this is one take that does a wonderful job at being scheming, manipulative, and a bit ruthless in her own right yet also surprisingly human to an extent especially when it concerns unrequited feelings that she might possess for a certain character (gee I wonder who?). Indeed it’s a fantastic (especially when it comes to her singing) turn from one of the more underrated actresses of her generation that definitely deserved an Oscar nod for Best Actress. Of course, in a slice of cinema like this the hero is only as good as the villain that they are squaring off against. Thankfully, this film is very much aware of this and in that regard gives us a delightfully twisted performance from the late yet great and still sorely missed Alan Rickman in the role of Judge Turpin. Indeed Rickman was always a phenomenal villain be it in Die Hard, Quigley Down Under, or even as the Sheriff of Nottingham in Kevin Costner’s take on Robin Hood and here he is just as fantastic as this unapologetically sleazy, slimy, despicable, and just plain lecherous guy who is equally as comfortable with taking advantage of a man’s wife as he is at stealing her infant daughter and raising her as his own before then, years later, attempting to make that child his wife (ick). Suffice it to say that Rickman does a terrific job with this hiss-worthy character that you can’t wait to see get his comeuppance and then some. Suffice it to say that when you also factor in fairly good efforts from such screen dignitaries as the always welcome Timothy Spall, Jamie Campbell Bower, and (in a wonderful extended cameo of sorts) Sacha Baron Cohen respectively this is one cinematic musical adaptation that, in terms of the work being done in front of the camera, is aces in every sense of the word.

All in all is Sweeney Todd: The Demon Barber of Fleet Street a perfect movie? Honestly no, but I have no doubt that there are those among you who might politely (I hope) disagree with me on that and that’s perfectly ok. At the same time though, this is also by no means a terrible slice of cinema. Rather, this is one that is fanfreakingtastic in every sense of the word to say nothing of an absolutely brilliant cinematic interpretation of an iconic theatrical production. Indeed the work done in front of the camera by the phenomenal collection of players are all not only incredibly chosen for the parts that they play, but each and every one of them prove to be terrific no matter how big or small their screentime in the grand scheme of things may be and the work done behind the camera does an absolutely marvelous job at not building the truly incredible world of the film for us, but then immersing us in said world and making it feel like the genuine time and place rather than a set built and designed for a movie that the moment “that’s a wrap!” is yelled will come crashing down. Thus Sweeney Todd: The Demon Barber of Fleet Street is more than just a great movie-going experience; rather it is no more and no less a rousing tribute to how genuinely great a cinematic adaptation can be when it is made by people who have both the skill and the passion to ensure that it will appeal to both the average movie goer as well as the person who’s heart has had a soft spot for said property be it literary, theatrical, or what-have-you right from day one. Make of that what thou will dear reader. On a scale of 1-5 I give Sweeney Todd: The Demon Barber of Fleet Street “07” a solid 4 out of 5.