Deutsches Musical Forum

June hat geschrieben:Ich dachte er kommt erst nächstes Jahr, hab jetzt gegoogled, da stand was vom 21.02.08. Ist noch lange In USA war ja die Premiere schon? Ohh ich muss ihn unbedingt sehen...ich muss alle Alan Rickman Filme sehen.

Ladies and Gentlemen -

this one seems to be a winner.
Da werden wir es ab Februar mit einem Meisterwerk zu tun bekommen.

December 19, 2007 -- TELL me, is it good? Sir, it's too good, at least.
Director Tim Burton's fierce and fast adaptation of the greatest stage musical of the last 30 years, Stephen Sondheim's “Sweeney Todd The Demon Barber of Fleet Street," is mighty entertainment that makes you feel sorry for the saps next door in the multiplex, the ones being served up weak sauce like “Grace Is Gone."
A thundering execution of Sondheim's incomparable demons-and-diamonds score backs a streamlined story, a wicked adult fairy tale that works with the same perfectly calibrated menace as the evil machine assembled by the title character (a galvanic Johnny Depp). Todd is a barber returning to Jack the Ripper-era London bent on revenge against Turpin, the judge (Alan Rickman) who sent him to prison in order to prey on his wife, who took poison, and his daughter, now an imprisoned teen beauty being romanced by Anthony, a youngster Todd met on his voyage home.
Helena Bonham Carter is Mrs. Lovett, a baker of meat pies who yearns for Todd. She's the odd angle in a love triangle that forms among a woman, a man and his razors. A chance encounter with a charlatan named Pirelli (“Borat" star Sacha Baron Cohen, in a hilarious cameo) leads Todd to murder by slashing customers' throats in his barber's chair. He plots revenge against Turpin by offering him a shave - “The closest I ever gave."
Burton's girlfriend makes a delicious Mrs. Lovett but her singing voice is vanishingly thin. It stands up to the 64-piece orchestra (with 30 added violins, it's the largest to ever tackle this score) like a thread in a guillotine. Supporting voices also aren't up to Broadway standards. There's only one professional singer in the cast, in the small part of the beggar woman.
Depp, who sang backup in a rock band before he went to Hollywood, has a fine singing voice and puts across Sweeney's rage with maximum voltage. Few are the pleasures that can top watching one of our great actors take on a mammoth role and win. Rickman is spot-on, as is Timothy Spall (the Beadle), who enters each scene incisors first as a man who could be the tapeworm in the bowels of justice, but only if you gave him a promotion.
Burton keeps the story screaming like a pennywhistle, miraculously getting it under two hours by cutting some elements from the stage that no one but fanatics will miss, such as the artificial prologue and epilogue. But two key numbers are also missing. (We can only hope that the DVD will extend the tale of Sweeney Todd.) One is “Kiss Me," the gorgeous duet sung by the young lovers, and the other is the one that reveals Turpin to be a self-scourging religious zealot fighting off his own demons. As it is, Turpin, Sweeney's daughter Johanna and her suitor Anthony aren't fleshed out, and the latter two are played by nonentities, especially Jamie Campbell Bower as Anthony.
What is left is merely a feast; Sondheim often has three great songs cooking at once, organs pounding and violins swooping. It's like being attacked by a bear and a pterodactyl at the same time, or like Bach and Bernard Herrmann hurling axes at each other in hell. Bonham Carter's winsome acting and “Corpse Bride" look save “The Worst Pies in London" and “A Little Priest," two brilliant comic songs, and Burton opens up “By the Sea" into a surreal holiday watercolor - the Addams Family goes to Jones Beach. Production designer Dante Ferretti and director of photography Dariusz Wolski are masters who choke us with Victorian smokestacks, slime us in ratty sewers and uncork the stench of the worst food since your eighth-grade cafeteria. Too bad things get unnecessarily bloody. Burton has fountains of red spraying everywhere, even on the camera lens and Depp's face.
A central pleasure of the movie is how it allows us to compare how three splendid artists whistle down the darkest corridors of sin. Depp still carries a hint of Edward Scissorshands' otherworldly fragility even as he boils over; Burton revels in the blood and Goth atmosphere, burying Depp and Bonham Carter's eye sockets in makeup as black as despair; Sondheim is Satan's standup. Who else could put the words, “I'm alive at last and I'm full of joy!" in the mouth of a psychotic thrusting his razors to the heavens? As the beggar woman puts it, “Mischief! Mischief! Mischief!"
SWEENEY TODD THE DEMON BARBER OF FLEET STREET
God, that's good.

ChristineDaae hat geschrieben:Worum gehts denn da? Also bei "Tödliche Versprechen", meine ich. Der Titel klingt interessant

MiladydeWinter hat geschrieben:Toll fan dich auch das Idina Menzel mitgespielt hat.... Sie hat sogar das Schlusslied gesunden (glaub ich... hatt sich jedenfalls nach ihr angehört )
Weiß von euch zufällig jemand wer in der deutschen Version gesungen hat?. Kann leider nirgends die Synchronsprecher finden...