In the Victorian London, the barber Benjamin Barker is married to the gorgeous Lucy and they have a lovely child, Johanna. The beauty of Lucy attracts the attention of the corrupt Judge Turpin, who falsely accuses the barber of a crime that he did not commit and abuses Lucy later after gaining custody of her. After fifteen years in exile, Benjamin returns to London under the new identity of Sweeney Todd, seeking revenge against Turpin. He meets the widow Mrs. Lovett who is the owner of a meat pie shop who tells him that Lucy swallowed arsenic many years ago, and Turpin assigned himself tutor of Johanna. He opens a barber shop above her store, initiating a crime rampage against those who made him suffer and lose his beloved family.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Katharine Tidy, the food stylist for the film, stated she had (at that point) made about six hundred pies and would probably had to make more. See more »
The amount of shaving foam on the Judge's face during the song and shave. See more »
I have sailed the world, beheld its wonders, from the Dardanelles to the mountains of Peru. But there's no place like London.
No, there's no place like London.
You are young. Life has been kind to you. You will learn.
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The final act in the US version uses different angles than the International version of the film during some extra violent deaths. The different angles focus more Sweeney instead of the immense amounts of blood that can be seen more vividly in the International cut. All in all it only amounts to around 3-5 seconds that are actually different and were needed in order to get the R-Rated in the US. See more »
Polarities. Art as a lifeline. Where was his best director nom?
Just five minutes in I felt a melancholy for how great it is making me sad it would finish. Its bipolarity shows both ends are 'us'. Losing your soul in aging, such works of theater are society's lifeline to feel. It's strange because of how American audiences are so puritan and usually despise theatricality, self-awareness or romanticism; it's as if the musical gives permission to partake.
See how the shave is presenting dignity for 'appearance', being the cleaned face of the societal machine; even there's a rival barber, it's a 'cut-throat' industry to make people nice to service the rotting. The rot is hoisted up by the broken; so the craziness of this is how Todd integrates as a twisted functional. It even rewards him with a checklist of fulfillment, but he could not embrace it. "The ghosts don't leave. They never leave."
This is because he is not real but a stand-in for Dante's London. See how he always creeps up, appears, or looks in the mirror as if surprised he even exists. The film brings this point home showing him as a stuffed figurine behind the window from afar, or as a mannequin in Lovett's fantasy. He is a symbol, a hero redeemer of this demonic ritual; an outgrowth of the dregs where the demon humanity run free for mischief. I like how early on the camera dances through the streets like an imp making sure every rat is still in its place, "I'm home!"
Those powerful gushings of blood show as feeling. We trade allowing this for the civility of living. The mad women ripping the asylum keeper apart, who kept a collection of crazies. There are hints of many different Sweeneys across this, difference being ours redeems, making his evil woke. This is the only Batman you're going to get here. Gotham wept.
Depp; when ever do you get a vehicle for this sort of one dimensional purity of rage? The face as performance landscape. A complete reversal in Edward Scissorhands. "My arm is complete," in both films. Both are these glam rock figures. There, goth within suburbia, here, musical theater within goth. Art as always is the great symbol; the hair cutting versus the shaving as creative and destructive tools for shaping the universe; Burton's paintbrushes.
It's about the torture of certain kinds of men who seek control, and can't bear life not offering that, so seek it at all costs in other ways outside their failing. Its tragedy shows how fate is very much in favor of those with purpose; you realize if only Todd sought industry rather than murder he would rule Judge Turpin politically not violently, and with ease.
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