Showing posts with label Sweeney Todd. Show all posts
Showing posts with label Sweeney Todd. Show all posts

Tuesday, July 6, 2010

Decade in Review, Revisited: Memorable Characters

Yes, I'm back with this again. It's really a never ending feature, though I wrapped up with my favourite casts, actors, actresses, music and costumes the sky is the limit and there's more I could ruminate on...and with nothing to do, why not?
           
Dan’s own list has inspired me to revisit my Decade in Review feature. I did have some categories I didn’t touch on, and what better time to reassess? The question of memorable characters is a tough one…my guess is as flawed as yours, but here goes…what makes them memorable for me? It’s not really the performances, though I’d say each performer does a good job. It’s really about how ready I am to recall the character as a complete entity with just the slightest hint – like a key phrase…or an article of clothing, a wisp of hair or an important weapon.
                

#10: Hans Landa (played by Christoph Waltz)
Key Token: Proficiency in language (and other things) which is, naturally, “a bingo”
See how objective I am? Though I’m neither here nor there on Inglourious Basterds, I’m not so fickle to leave Waltz’s Landa off the list. It’s difficult with recent characters to decide whether or not they’ll endure, and I suppose there’s a possibility he won’t. I was tempted to put Helen Von Bismarck on the list instead of him, but I knew that was just nepotism for Kruger’s excellent performance and not really any objective longevity precipitated by her character’s brilliance.
          
#9: Tom Stall (played by Viggo Mortensen)
Key Token: The gun (but, of course)
I find it so difficult to believe this man has been acting since the mid eighties. He just burst on to the scene with The Lord of the Rings and has just been improving consistently. Still, it’s this 2005 performance that stands above his other creations (and above a majority of actors). It’s two men, and yet it’s one man. They’re both deliberate, they’re both smart and they both have a way with guns.
           
#8: The Bride (played by Uma Thurman)
Key Token: The costume
Yes, Tarantino again. Ironic, since I’m less than fond of him. I will admit that I consider Kill Bill to be his strongest venture and a considerable amount of that lies in Uma’s Bride. Of course it’s more than Uma’s performance; the Bride has just endured as one of those iconic characters – from the jumpsuit, to the moves to the van.
        
#7: Sweeney Todd (played by Johnny Depp)
Key Token: The hair
Apparently the tuft of white hair was Depp’s decision, which doesn’t surprise me. From the guttural growl to the permanent scowl it’s all very individual (and judging from the videos I've seen unlike any characterisation of Sweeney Todd before). Depp is not as unoriginal performer as many have decided.
                    
#6: Bill the Butcher (played by Daniel Day Lewis)
Key Token: The voice
Perhaps it’s because I have not internalised There Will be Blood as much as Gangs of New York or perhaps it’s because Bill’s bloody ways scare me more than Plainview. Either way, I consider this to be Day Lewis’ most iconic role. The violence, the determination, the patriotism – no matter how misguided, and of course that voice. He played a lover, and then a butcher (both excellently) – I want a third Scorsese pairing.
           
#5: Satine (played by Nicole Kidman)
Key Token: The hair
Nicole back when she was a redhead. I was tempted to note the pale skin, or her long legs or perhaps even her voice but it’s the long red tresses that remind me of Satine the most...and I just love that look on Nicole's face above.
         
#4: Jack Sparrow (played by Johnny Depp)
Key Token: Drunkenness
A bit of an obvious choice, but that’s why it’s iconic.
          
#3: Miranda Priestley (played by Meryl Streep)
Key Token: “That’s all”
Oh, Streep. Her ubiquity exasperates me, but she was served up a delicious role here and milked it for all it was worth. I do love my comedy subtle and though she’s not my favourite performance in the film, she is the character we return to time and time again. Whether we remember her well tended hair, her immaculate wardrobe or her imperious glance, she was a true woman of the ages. That’s all.
     
#2: Shrek (voiced by Mike Myers)
Key Token: Skin colour
Must I really justify this? A franchise that has worn thin? Surely. But Shrek is an iconic, not the best animated character of the last decade but easily the most memorable for me.
       
#1: Gandalf the Grey, then White (played by Ian McKellen)
Key Token: The hair
This was too easy really. I did cite the performance as one of the decade’s best, and after a while it became difficult to say where the brilliance of McKellen’s performance ended and the iconicity of Gandalf began. From his quotable lines, to his enigmatic stares, his magical prowess and his commanding voice no character from the last decade leaves such a lasting impression on me as Gandalf, whether he be Grey or White.
              

Monday, July 5, 2010

Music Break [...with Sweeney Todd and Mrs. Lovett]

Cut songs and all (where was the rest of "God That's Good") I do love Tim Burton's adaptation of Sondheim's Sweeney Todd: The Demon Barber of Fleet Street. A bit too short, but entertaining and well made. True to my weird nature my favourite moment in the film is one that is often forgotten. True, I've never actually seen a live incarnation of the piece but even though Depp and Bonham Carter were not the belters associated with the roles their soft voices paid off - especially in this scene. "My Friends" along with "Johanna" is the only love song in the musical, and it's writren so wonderfully - but it's not Sondheim's lyrics that carry it through. Depp is, of course, entranced by his tools but it is Helena with that look of longing, even obsession, on her face that commands the screen (er, where exactly was her Oscar nomination)...and I do love it when actors sing in counterpoint.

Tuesday, June 29, 2010

House Keeping Matters

In case you didn't notice, I've got a poll up on the sidebar. I actually hate polls (anonymity does not do it for me), I actually did two polls way back when when you picked Sweeney Todd as your favourite musical and Sense & Sensibility as your favourite nineties period piece. I reviewed both, as promised. I didn't do well in attempting to review An Education, so this is take on 2009 reviewing. I wrote various musings on three of the four, and very little on The Last Station and Up. So, you decide which I should review.
            
While you're on that, I'm accepting ideas for the newest LAMB Casting, we're recasting My Best Friend's Wedding, see more here.
 
Okay...as you were.

The Animated Question…Or What Is a Musical?

I told you before, editorials are not really my thing but I have to do one every now and then. It’s been nagging at me since May. This is less editorial and more of a short conjecture.
                            
When Univarn rightfully weighed on the issue with some musicals I questioned whether musicals can rightfully be called a genre. Romance is a genre, every romance films have the same tenets – no matter how quirky, offbeat, maudlin, unrealistic, gross, stupid or smart – there will be a couple, they will fall in love (or pretend they have) one may die, they both may die, they may part ways but romance will occur, hence the name. It isn’t the same with a musical, silent movies aren’t regarded as a genre (at least not correctly) neither are “talkies”. So why are musicals and animated films treated as such…? What is it that we expect from them? No one thinks of breaking down films in terms of black-and-white. I do have my favourite black-and-white film (forthcoming on the list).
                    "Sweeney, dear, there's been a bit of an error...this is a bit too bloody to  be a musical..."  
              
It’s not that I don’t often go around citing my favourite musical or animated flicks (I do and I did) but when persons have such mental blocks it becomes a tad – trite? “I don’t watch children’s movies” – did they see Waltz with Bashir? “Musicals are for girls” – I think I’ve done enough trying to prove that one wrong but Sweeney Todd (or on stage “Dirty Rotten Scoundrels”)? Really? …or maybe I’m missing the big picture. Is there something that makes all musicals inherently the same (musical drama, musical comedy, musical romance, musical tragedy, musical horror) or all animated films likewise (animated documentary, animated comedy, animated fantasy)? Other than the fact that one will have singing and one will be animated what else makes then worthy of being regarded as a genre? Aren’t they just film forms? Or am I just being overly neurotic?
                    
…anyone?

Wednesday, May 26, 2010

Helena Bonham Carter...I Love You...

Back when no one was reading, I posted my thoughts on Helena Bonham Carter. Here is the post in its entirety...

I was going to write about Kristin Scott Thomas, but I saw Harry Potter & the Half Blood Prince yesterday and all my adoration of Helena Bonham Carter [or HBC] came rushing back and I decided I'd do her instead. While writing this post I realised that even though I have a few of her films on DVD, I don't have enough. I've got Sweeney Todd, Merlin, Live From Baghdad, Hamlet and Howards End. I don't know where the hell my copy of Fight Club is [somebody's got some explaining to do!]. But alas, I have never owned a copy of her best work - The Wings of the Dove on DVD, because it is unavailable in my country. Horrors. But I'm getting way ahead of myself. Let us take a walk down memory lane as we celebrate the beloved Helena Bonham Carter, Mrs. Tim Burton, Ms. Bellatrix Lestrange, Mrs. Lovett and so much more. She also happens to be Gemini like me which makes her extra special.
I'm not sure what my first meeting with HBC was, but I'll start with one of her early triumphs in A Room With A View where she played Lucy Honeychurch opposite Dame Maggie Smith. I suppose she was in a way overshadowed by her costars [it was her first film], but I still think HBC was wonderfully dainty as the London misfit travelling with her chaperone and cousin Charlotte. A Room With A View is a good film to check out if you haven't seen. And Twif you haven't seen...ummm why, not? Moving on about four years later when HBC tackles Shakespeare. For the record I will always prefers Branagh's Hamlet to Gibson's Hamlet. But I do enjoy HBC in the role. This was back in the day's when Mel Gibson was not a joke, but they did have good chemistry... and thank God she didn't play Ophelia like some simpering fool. Two years later she returns to Merchant Ivory gloriousness with Howards End which is one of my favourite films. It's also the best film Helena has been in, so you should check it out. She plays the sister of Emma Thompson as middle class 19th century Londoners who deal with the injustices of their society. Helena is completely mesmerising as Helen Schlegel. Once again no Oscar love was forthcoming despite the year being VERY weak. Still, she won in my heart. She continued for the next few years playing in some low key fare, earning a Golden Globe nod for a TV movie as the wife of Lee Harvey Oswald, and then playing Woody Allen's wife in Mighty Aphrodite.
But in was in 1997 that HBC gave her greatest performance earning her only Oscar nomination for The Wings of the Dove as a complex character Kate Croy. I have only seen this film once and if you have not seen it you should, if you have a chance to buy it, do so. It's delightful. One of the best of 1997 and despite not winning the Oscar Helena did win the NBR and some other critics awards. The next year she played Morgan Le Fey in the miniseries Merlin. That movie is rather gruelling but it's good and HBC is delightful as the lisping, demonic woman/child Morgan. This was actually the beginning of a whole line of revolting/freaky/outrageoys/crazy characters. Take for instance her work as Marla Singer in Fight Club... a performance that was worthy of an Oscar nomination I might add. HBC is all kinds of hot with Brad Pitt, despite a very strange character.

She earned a second Emmy nod for her performance in Live From Baghdad (pictures here), a political thriller of sorts but a good film nonetheless. It's a pity this couldn't have been a big screen hit. She soon got involved with Tim Burton and his pet projects, some were not right for her but she was outstanding in Big Fish, Sweeney Todd and Corpse Bride. If it's possible, this is her second best performance ever for me. I know this is an animated film but her performance as The Bride is so haunting. I wish this could have been a live action film, it could have been a great career opportunity for her.
Today I have to be satisfied with snatches of my beloved in Harry Potter films or whenever Tim Burton lets her out for play. Hopefully that TV production of Enid Blyton does not suck. Who knows? Maybe it could be Emmy bound since it seems that her Oscar hopes have all but gone. Still I continue to adore... and you should too. She's brilliant.
 I don't know what became of Enid Blyton, but HBC has The King's Speech coming out this year and I cannot wait...I adore her, and today is her birthday - she turns 44. If you could only watch one incarnation of dear Helen...which would it be?
         
REMEMBER this post is automated, I'll respond to your comments on Friday.
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