BACK: NOT JUST FILM EMERGES WITH TIM BURTON 
SWEENEY TODD - The Demon Barber of Fleet Street
By: Tim Burton
Starring: Johnny Depp, Helena Bonham Carter, Alan Rickman, Sacha Baron Cohen
Genre: Musical (116 ')
Comment: The director who knows how to dream more (and to dream) in Hollywood, probably the only one so profoundly unable to link the dream images and situations verosomiglianza the feelings and the human psyche (without weigh recherche ever do this), signed in blood on his latest masterpiece. For Sweeney Todd, history (true, albeit fictionalized 150 years of legend), Tim Burton plays it safe, relying on the "little brother" Johnny Depp, the most trasformistica icon of world cinema, and his partner-witch Bonham Carter, who many wanted associated with early-stage to a movie far more Shakespearean, and instead he found the role of witch (in various shades) that it, damn good idea, shot. But Burton is also, and above all, an innovator, one that takes the genre, he respects the way down, yet it leads to extreme consequences, finding poetry in the colors, static poses and dynamic, in accompanying sounds, even before that in "verses sung by its protagonists" (aspect that, to understand, but made famous US-made prototype of the musical, "Singing in the rain"). Waiver of the trust Danny Elfmann behind the score, Burton's good, but does not lose a comma of his genius, giving sets made in Italy (awarded by the Academy) and transitions space-time thrill For two hours the film sticks to the chair, building and in parallel with a dose of wise known chef, tableau vivant (paintings as cornerstones of this great fresco) and camera movements learned and never dull. The shape of the contents on the form and content, without a moment of weakness. "Sweeney Todd" film is perhaps the most daring, more subversive of Tim Burton, which is more than a simple certificate of origin: the most bloody of "Batman Returns" and "Sleepy Hollow", the most Gothic of "Corpse Bride" (which also follows the main traits of the musical), the bloodiest of "Edward Scissorhands" yet even more poetic. Made with a metric of grief and revenge, irony and noir death: Johnny Depp in makeup recalls the boy-robot who launched in 1990, but has lost its innocence. Because at the end of "Sweeney Todd" is just that: the epitaph of Innocence (also a child, eventually, will arm razor), a London ever so dark, where the suburb overlooking the monument (Not is part of a one-time Big Ben, absolute temptation for other directors) and the desperation on the ritual. A perfect film, which combines short jugular severed, blood gushing and lyrical, emotional but also increasing overall balance. Until that final tribute is the best Shakespeare, that of "Romeo and Juliet." A lesson for many "registucoli" (the last Tarantino or Eli Roth follower), which often stained with red directed only to "pure" (so to speak) of the horrid taste. One last detail: Sylvester Stallone in his career he won an Oscar, Tim Burton (as a director or film produced at least) no: Hollywood and they say they will be ...
Do not miss: The investigation into the dregs of London, within ten seconds only, fascinating, dips, involving: a roundup lightning in the ganglia of suburbia, topped by a nervous-off music ... Goose bumps.
VOTE: 10
