Sweeney Todd Soundtrack Review
Stephen Sondheim Composes a Musical Symphony for Burton's Adaptation
The commonplace collaboration between director Tim Burton and composer Danny Elfman is not present for Burton's most recent adaptation of Sweeney Todd. Instead, it is the responsibility of the theatrical production's original composer Stephen Sondheim to take the helm of this Hollywood realisation and translate the memorable songs to the big screen.
Sondheim delicately transforms the many nuances of his stage score for this lavish Hollywood adaptation and yet the score, as with all of Burton's films, has the director's mark stamped over it as is demonstrated in the gothic quirkiness of the lyrics.
The Power of Sondheim's Music Permeates The Listener
The organ opens the first theme with a tone of urgency which fades into the ominous percussive instruments before the main theme penetrates the ear, cutting like one of Todd's sharp blades into the heart of the listener.
Every tense moment in the film and its accompanying score is vividly brought to life by the principal leads Depp and Bonham Carter as well as the emotional soliloquies from Depp's Benjamin Barker, scarred by his past misfortune at the hands of Alan Rickman's ever sly Judge Turpin. Barker is bent on revenge of his wrong doers and the constant shift in tone of the score reflects his need to take swift action.
Depp And Bonham Carter's Vocal Abilities Are Put To The Test
Depp's vocal ability is essential to the score and for many people the deciding factor as to whether Burton's foray into musicals is a successful one. The effect he garners with his voice is a gravelled, melancholic tone, coupled with Depp's power to inject every new character with a highly individual persona on the screen.
His vocals are tested first and foremost in the first of the film's lyrical offerings, No Place Like London in which Todd is returning after many years to the vermin inhabited 'pit' that is the streets of London; a view that is not entirely dissimiliar to that of Burton and Depp's 1999 collaboration Sleepy Hollow. There is menace in Depp's voice from the very opening number as we are introduced to the man who has already been transformed from the 'handsome Barber' into the vengeful creature Sweeney Todd.
There Is An Integral Bond Between Mrs Lovett And Sweeney Todd
Todd is an experienced man. He has 'sailed the world' as he attests and 'seen its wonders' but is still drawn back to his sanctuary, London, where his revenge will take fruition. The wind instruments of the orchestra contrast with the sharp, stabbing motion of the organ and leave the listener anxious for the coming events.
Whereas Depp provides the anger and melancholy, Bonham Carter provides the sarcasm and humour of the score, the contrasting vocals working to best effect on My Friends. Bonham Carter's Mrs Lovett craves affection and partnership with Todd and Todd is ignorant to her displays of affection. He is merely looking for revenge and to be reunited with his daughter.
Every Track Is Central To The Overall Effect Of The Score And The Progression Of The Characters
Whether it is Anthony and Todd's collaboration on Johanna or the pathos of Tobias (Edward Sanders) and Mrs Lovett's (Bonham Carter) mother and son relationship in the devastating Not While I'm Around, Sondheim's musical fabric is rich and interweaves between both the lead and supporting casts allowing greater character motivation and significance.
Pretty Women, Rickman and Depp's collaboration, is as tense as the film and score get at one simultaneous moment, but it is Epiphany that demonstrates Depp's vocal strength as he takes to the streets for his soliloquy, a conflict between anger, loss and passion ignited in Sweeney Todd/Benjamin Barker's heart.
The swelling of Sondheim's orchestra compliments that scene in beautiful fashion and his score ultimately gives dynamism and energy to this Hollywood adaptation of the classical theatre production.
What do you think about this article?
Latest Articles