The infamous story of Benjamin Barker, AKA Sweeney Todd, who sets up a barber shop down in London which is the basis for a sinister partnership with his fellow tenant, Mrs. Lovett. Based on the hit Broadway musical.
Helena Bonham Carter,
Michael Lehmann was originally set to direct. Tim Burton was approached to produce and wanted to direct the film as well, but only if this could be his next project instead of Mary Reilly (1996), which he was set to officially sign on to in days. A first treatment of this script was written in six days and Burton accepted. Lehmann moved on to direct Airheads (1994). See more »
When Ed takes Lugosi home after first meeting him, Bela disdainfully says that modern horror movies only show big bugs, giant spiders, giant grasshoppers and the like. But in fact, Hollywood did not begin producing giant-insect films until 1954 - about two years after Wood and Lugosi first met. See more »
You're watching our Halloween movie, "White Zombie", starring Bela Lugosi, John Harron, Madge Bellamy, and a bunch of other people I've never heard of.
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Immediately preceding the final credits, the film features a "What Ever Happened To" and/or "Where They Are Now" sequence about Edward D. Wood Jr., Kathy Wood, Bela Lugosi, John Breckinridge, Dolores Fuller, Tor Johnson, Vampira, Paul Marco' , Conrad Brooks, Tom Mason, and Criswell. The commentaries include such statements as: "Bela Lugosi never rose from the grave, but after appearing in 103 films, he is more famous than ever. Today, his movie memorabilia outsells Boris Karloff's by a substantial margin" and "Dolores Fuller, after leaving Ed, went on to a successful songwriting career. Her compositions include the Elvis Presley hits 'Rock-a-Hula Baby' and 'Do the Clam.'" See more »
The theatre wasn't exactly filling up fast: so far my husband, a friend and myself were the only ones seated. Just before the movie began, a young couple walked in. And shortly after the movie began, they walked out. I wonder if they asked for their money back. I hope they didn't get it.
The movie was ED WOOD, Tim Burton's homage to trash-film director Edward D. Wood Jr., which only played in Greenville for two weeks and did not show up at the second-run movie houses. Apparently no one wanted to see it. Their loss.
But perhaps I'm being too hard on those who don't appreciate the subtle nuances of Eddie Wood's movies. To me, Eddie was a glittering bead hanging on Hollywood's lunatic fringe. However, Eddie, a transvestite who often directed his masterpieces wearing high heels and an angora sweater, was not exactly your mama's director. He was no Frank Tashlin, who tried to make Jayne Mansfield respectable in THE GIRL CAN'T HELP IT. He was no Norman Taurog, who made Elvis look like a dork in countless girls-cars-and-guitars flicks. He wasn't even Russ Meyer, whose exploitation films are legendary in their trashiness. No, Eddie just never seemed to get a break. He wanted to be Orson Welles. He didn't even find the measure of fame accorded to Orson Bean! He remained a pathetic outcast, forever a fringie.
Perhaps it is appropriate that Johnny Depp was chosen to portray Eddie Wood. Depp has a long history of playing outcasts and fringies -- Edward Scissorhands, Gilbert Grape, Hunter Thompson. Depp makes it clear that Eddie's angora-covered heart was in the right place. He worked hard on his scripts, he gave important roles to spectacularly talentless actors like Vampira, wrestler Tor Johnson and Eddie's own main squeeze, Dolores Fuller. And he was very kind to the drug-addled has-been Bela Lugosi, even dissuading the drunken Drac from committing suicide (which wasn't entirely altruistic, perhaps, as Lugosi had threatened to take Eddie with him). Depp makes Eddie appear almost human.
Depp's portrayal is just one of several that are outstanding: George "The Animal" Steele as Tor Johnson, Jeffrey Jones as Criswell, Vincent D'Onofrio in his cameo of Orson Welles and Bill Murray as Bunny Breckinridge -- one of the rare times Murray has immersed himself in his character and not been merely Bill Murray with someone else's name. Also delightful is a brief appearance by organist Korla Pandit, 1950's television personality once billed "The Prince of the Wurlitzer."
However, all the performances in ED WOOD are overshadowed by Academy-award winner Martin Landau as Bela Lugosi. For those enough old enough to remember Landau in TV's "Mission: Impossible," it perhaps isn't surprising that Landau was able to hide so completely behind a spookily accurate makeup job; seeing Landau's Lugosi watch himself on television was eerie because Landau looked enough like Lugosi to make it seem real.
The film ends on a high note, which Eddie's life didn't -- he died in his sleep, watching a ball game, just a few days after he'd been evicted from his apartment.
ED WOOD is not a family film. Some of the language is strong, drugs and drink are abundant, and many of the characters are a shade on the bizarre side. It might be hard to explain to one's children why this apparently virile man loves to raid his girlfriend's closets.
Unfortunately, ED WOOD hasn't exactly burned up the box office. Perhaps it is because so few people can relate to someone as weird as Eddie, with his terrible stories about men in angora sweaters, killer octopi, blank-eyed wrestler slaves and, the piece de resistance, aliens with eight failed plans to take over the universe. I believe Eddie himself felt like those aliens, which is why, viewing PLAN NINE FROM OUTER SPACE, he said, "This is the one I'll be remembered by." And perhaps that very weirdness made the story appealing to me. Having lived as a misfit and outcast, working hard all my life to reach a goal that has remained elusive, I can, to quote someone I don't care for, feel Eddie's pain. It's too late for him, but perhaps there's hope for me yet ...
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