To say director Tim Burton’s blood opera Sweeney Todd is a cut-throat production does in no way refer to its production values. It’s meant literally. Sweeney Todd (Johnny Depp), London’s demon barber of Fleet Street is a vengeance movie involving very sharp shaving blades. Sweeney Todd had been unjustly sent to spend fifteen years in a penal colony so that a high ranking judge (who’s in desperate need of some time on Sigmund Freud’s couch), Judge Turpin (Alan Rickman), would have access to Todd’s beautiful wife and daughter—to take as his own. Of course that was way back when Sweeny Todd was an innocent boyish looking Benjamin Barker. The short fleeting flashbacks to this past life are airy and sunlit, a stark contrast to the rest of the movie which is gorgeously rendered in dirty layered grays and darkness. This is London configured by Hieronymus Bosch, a true purgatory (though perhaps it s more like Hell). Even Dickens would look aghast at this London. It is dark and foreboding, and you certainly get the impression this is a place where any of the teeming human populace would enjoy nothing more than viewing a gruesome hanging before breakfast. Everyone seems in need of a hot bath.
Though dark, there are moments of humor, some in the songs themselves and in the tart remarks of Todd’s lover and accomplice Mrs Lovett (Helena Bonham Carter, wife of the director), and also in a very funny scene where a rescued young scallywag (sort of an indentured servant boy) is served rum with his meal and tells Mrs Lovett to leave the bottle after she pours him a glass. Speaking of songs, which break out at the slightest opportunity (this is opera after all), if it weren’t for the grisly lyrics in some of them, they would form a refreshing counterpoint to the dark background and grisly goings-on in the barber chair and down below where the bodies pile up. Todd’s first victim is a very ornate (and true opera mannequin) barber Signor Adolfo Pirelli (Sacha Baron Cohen–aka Borat, aka Ali G). Many more follow.
Once you have the bloodlust of vengeance, so the movie graphically suggests, it is but a short trip to insanity and bloodlust for itself, especially when there is profit in it. Why, after all, waste all those cadavers when Mrs Lovett can fill her meat pies with them, that is, after they’ve been properly ground in a huge grinder (turns out Todd also has a certain mechanical ingenuity). The pies sell like hotcakes, and proves Mrs. Lovett to be a fine businesswoman.
The graphic display of blood-squirting throat cutting is disturbing, a ballet of Todd’s razors. After watching this movie I woke up several times during the night clutching my throat and taking in deep gulps of air. I should also say that this dread was somewhat countered by my strange attraction to Mrs Lovett’s Gothic Emo appearance (not usually my cup of English tea)—immensely dark eyes made even more pronounced by aureoles of more darkness, and then there were those fingerless lace gloves and the low cut wench bodice …but of course I must be careful. I wouldn’t want to make Sweeney Todd jealous.
The screen play is from John Logan, the music from Stephen Soundheim. See synopsis the original musical Sweeney Todd 1973 production here and the basis of this character here.
And of course let’s not forget the real Sweeney Todd. It’s the stuff nightmares are made of.







