Trancendance and Red Paint: "Sweeney Todd: the Demon Barber of Fleet Street"

by James Spica

I can see it now—some hopeful customer walking into Home Depot with the intent of painting a piece of furniture “candy-apple red”, only to be told by an embarrassed clerk that Tim Burton has just purchased the store’s entire stock—some 8000 cans. Burton actually uses all of said red paint in “Sweeney Todd—the Demon Barber of Fleet Street.”
This film, to be frank, is as “Burton” as it gets—the colors, the hues, the characters, and even the orchestration. There are those who adore his style, and those who do not, and I must unfortunately concede that love or hatred of Tim Burton’s ‘Halloween sensibilities’ will probably make or break this movie for many audience members. That being said, this is one of Burton’s most spectacular films, even when compared with well-known jewels such as “The Nightmare Before Christmas.”
Perhaps the most noteworthy aspect of the film is its superb transcendence beyond the typical filmed musical, the musical movie. It is a significant departure in a positive direction from the conventional way of filming a musical. When compared with musical film staples such as “Singing in the Rain” or “Jesus Christ Superstar”, Burton, in his use of camera angles and generally proficient cinematography, his musical orchestration (the ‘Burton Difference’ between that which is played in the orchestra pit below the stage and that which is played in a massive studio), his props and setting style, and perhaps even his casting, not only raises his film above most musical movies but to proves that he is the best possible director for a film adaptation of such a dark production. The props and settings are phenomenally detailed (the parlor behind the bakery, for instance), excepting the rather horrendous opening scene that, because of too much CGI, looks like a trailer for a video game.
As in most movies, “Sweeney” has a small handful of negative points. Those who enjoyed the film “Lords of Dogtown” for anything other than the soundtrack will find this remark to be in bad taste, but the incessant crooning of prince-valiant-skater-boy sailor will undoubtedly make many audience members wish for his demise by a fatal encounter with a steam-roller. The singing of Mrs. Lovett (Helena Bonham Carter) leaves a great deal to be desired—one may note her strong character-acting getting in the way of her singing voice. The final and most general of these negative points is the artificial sheen that seems to cover the setting in many scenes.
But for the previously mentioned ‘downers’, the humor, drama, and singing remain exciting and commendable throughout. The humor (what there is of it) is assisted by the facial expressions of the actors to the point where it is a bit further than what one might be able to see from a box in a theatre. Depending on one’s personal aesthetic, “Sweeney Todd—the Demon Barber of Fleet Street” may not be one’s favorite film, but there’s something for everyone (except children and the squeamish).