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Johnny Depp insists that the first time he ever sang a song was in preparation for "Sweeney Todd". If that is so, the rest of us have no chance whatsoever in having a successful singing career. He displays the range, tone, and emotional commitment of a seasoned professional. No doubt, there are countless aspiring Broadway actors out there who have seen his performance and decided to quit the business. In a word, his performance is incredible.

Tim Burton makes some odd choices for the screen version of "Sweeney Todd, The Demon Barber of Fleet Street". Yet there is none so odd as his pick for the title character. Len Cariou, who performed the role on Broadway, was a huge, burly presence who filled the theater with hulking malice. Depp, on the other hand, is small of frame and balletic in his mannerisms. Any yet, Burton makes it work through the use of clever camerawork. We get many close-ups of Sweeney's sunken eyes and sharp teeth. As in most Burton movies, all dimensions are twisted. Todd is seen from below as he points his razor skyward.
"At last! My arm is complete again!" Sweeney Todd screams triumphantly.

Set in Victorian London, the film opens with Sweeney Todd returning from prison in search of revenge against the man who has stolen his wife. When he teams up with Mrs. Trevett, the real fun begins. After Todd murders a rival, Mrs. Trevett suggests that they use the body to fill her meat pies. What follows is a combination of horror and romance all set to the lilting refrains of Stephen Sondheim.

Other standout performances include Sacha Baron Cohen, who delivers an over the top performance as Signor Adolfo Pirelli. Newcomer Ed Sanders is another talent to watch. His portrayal of Toby, a workhouse orphan is both haunting and terrifying at film's end.

Helena Bonham Carter is another surprise. Much of the original play relied heavily upon Angela Lansbury's ability to sell the entire idea and make it plausible. Carter does well in this aspect even though she lacks the heft of Lansbury's vocal range. Carter is less maniacal, but it plays well. Burton wisely lets Depp chew the scenery while Carter anchors the film with businesslike patience. Two larger than life performances would have been too much to handle.

There is the inevitable question as to which is better; the play or the film? The Broadway production was a twisted delight of dark comedy. Tim Burton takes that original production and puts it into overdrive with gothic settings, real rats, and blood that spurts in all directions hitting the skylight window.

Despite all the London fog and dripping blood, though, it is Depp who carries the day. Without him, everything falls apart. Aspiring actors, take note. Mr. Depp has just raised the bar once again.

Learn more about this author, Neal Acito.
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