Sweeney Todd: The Demon Barber of Fleet Street

Sweeney Todd is the twisted musical tale of a butchering barber out for revenge against the man who coveted his wife and ruined his life. After years in exile, Benjamin Barker returns to London to find his wife dead, his daughter in the hands of an evil judge and the city governed by a corrupt seedy aristocracy. The years of pain and torment have sculpted him a new persona, Sweeney Todd. "There's a hole in the world like a great black pit, and it's filled with people who are filled with shit, and the vermin of the world inhabit it...", he sings. Enveloped by an insatiable lust for vengeance he opens a barber shop above Mrs. Lovett's pie shop, and with her help begins to exact his revenge on this sick society.

Combining the juxtaposing genres of horror and musical, to create an accessible film to fans of both mediums sounds like a daunting proposition. The musical stigma of over sentimentality does not readily associate itself with the violence of Sweeney's sordid tale. But in the capable hands of the gothic maestro, Tim Burton, we are presented with a gloriously grisly tale embedded with dark romanticism that should appeal to a braver but no doubt wider audience than would normally apply.

Burton is a true auteur of modern cinema, with a visually distinctive style that has never been more appropriate for a film. Artfully weaving Sondheim's powerfully evocative score against a stunning backdrop of dark grimy streets, bathed in shadows and cobwebs, he creates an unsettling and creepy atmosphere.

While Burton's direction is superb, it is Johnny Depp, in their 6th collaboration together, who will deservedly reap most of the praise. His vocal talent, although lacking finesse, is suitably deep and powerful, loaded with emotion. It fits perfectly with the unhinged rage of the psychologically damaged killer. Depp's brooding performance encapsulates the very essence of a man torn apart by vengeance. Every facial expression capturing the bleakness of his existence and in turn the smallest touch of empathy. After all, for all the filth and horrors existing in his world, it is Sweeney, once a righteous man, who is the darkest of them all.


There is blood, a lot of blood. Yet the blood is a crucial element of the presentation; theatrical and excessive, but choreographed as if itself were a character. On the surface, adding to the dark and vile tone, but also lending a sense of elegance to Sweeney's murderous craft. The razors themselves are an extension of Sweeney's physical appearance, more violent than Edward's scissor hands but as much a part of him. His madness and depravity are reflected in these beautifully crafted silver blades which slice his victims throats with clean precision. These subtle features resonate in harmony with the music. It is art from two of cinemas most effective craftsmen.

300

Last Thursday I managed to secure a seat in the country's largest cinema screen, the London IMAX, to enjoy the much hyped 300. To be perfectly honest I had been anticipating this cinematic event for nearly 3 months; ever since I caught a glimpse of its revolutionary style in the trailer. The buzz had been ringing over 300 for weeks. It smashed records for a March opening in the states and critics' wimpers of too much violence, all style and no substance had absolutely no dampening effect on my enthusiasm. In fact, not since the Matrix had I felt the overwhelming necessity to see it before everyone else. I was expecting my socks to be knocked off.

So to the IMAX. Everything about the Imax speaks volumes. It is on a scale that dwarfs all other forms of exhibition. As one enters the theatre, the screen unfolds in front of you. Its omnipresence is overwhelming. I couldn't contain my excitement. Each screening is preceded by an introduction into the sound and visual capabilities of what the IMAX experience is all about. A light shines behind the screen revealing a wall of speakers. At first you think it is a neat little trick; a projected image so life like. But it's real.

The screen has millions of tiny holes in it to allow the huge wall of sound to travel through shaking your molecular structure so you feel every audible element. One speaker begins playing a soft drum beat before being joined by another. Before long speakers in every corner are playing layered tones and beats immersing you in a euphony of surround sound bliss.

They say that modern home entertainment systems rival most cinemas, but not the IMAX. It is in its own league. A screen ten times the size of a normal cinema screen completely dominates your peripheral vision. No matter where you look, it is impossible to avoid. This was heaven, and the film hadn't technically started.

So to 300. Epic. Stylish. Beautiful. The grandeur of 300 was firmly established that night and I will remember it as one of the finest cinematic experiences of my life. The battle scenes are most impressive, using a technique of combining slow motion with sped up moments in between.

In slow motion a Spartan warrior thrusts his shield into an enemy sending him sprawling to the floor, then in fast motion we see the Spartan spin around carried by his momentum before the action is again slowed down for the final thrust of his spear into the fallen man's chest. This action is then repeated as the spartans clear their way through the enemy ranks. I never thought battle scenes could be made so majestic and balletic, although still incredibly brutal.

Critics have been bemoaning an apparent lack of story. They seem to have misunderstood that 300 is foremost a comic book adaption. In this manner the script, the gross misconceptions of reality, cheesy dialogue, strange weird disfigured creations of a highly imaginative mind, are wholly befitting and serve the purpose of the film perfectly. Zack Snyder used Frank Miller's orginal novel as a storyboard guide to much of the films stylish look. It doesn't disappoint.

Admittedly, being a 22 year old male student and perfect cannon fodder for such testosterone fuelled violence, it would have been difficult for me to have left feeling dissappointed and underwhelmed. However, I have been known to set my expectations very high only to see them dashed. I was therefore thrilled to finish 300 in awe and in need of a second viewing. My only problem is that now anything short of IMAX quality is distinctly lacking. The bar has been set.