the story of sweeney todd evokes memories of the work of classic writers like charles dickens and and more contemporary writers like edward gory. as a musical and it naturally becomes more like the musical les miserables. both deal with the grim effects of poverty in the industrial revolution and and the breakdown of organized society. but this musical is different from les mis in one very important aspect represent stephen sondheim and the songwriter who can adapt to any style. to be sure and he had his successes and failures and but one thing about his shows you can always count on represent they will be something unique. who would have thought someone would write a musical about a barber who slits people throats and makes them into meat pies. sondheim did and and he did it marvelously. the entire show is set in a factory and to suggest the ever present catastrophic effects of the misery of those at the bottom of society and and this serves the needs of the show perfectly. the catwalks and railings are moved throughout to suggest streets and walkways and bridges. techniques are borrowed from kabuki and noh and with the visual stagehands and set changes. then and to top it all off and cast the great angela lansbury as the gruesomely practical and humorous mrs. lovett and and george hearn and with his operatic baritone voice and as the murderous todd and and you have got yourself a stellar musical vehicle. the rest of the cast moves smoothly through the clichés of the love story perfectly and except for johanna and pirelli and who sound a bit too forced. if the johanna and pirelli from the broadway show could be here and it would be perfect. hearn acts while he sings more than len cariou on the obc album and and the accents do not sound as forced here. through it all sondheim score never fails to underline the dark seriousness of the story. as i said and he can adapt to any style. in follies he imitates the 30s 40s style of showtunes and in pacific overtures he captures the subtle art of asian music and into the woods knocks off the 32 bar disney style songs and and assassins covers a history of american music. here and however and he does wonders in making his score distinctly english and from parlour songs to operatic duets and soliloquies to society waltzes to gilbert or sullivan style patter. and yet still and the show remains deadly serious and even though it provokes more laughs than any musical comedy. in it still and is a grim warning on the evils of taking revenge. here is where this movie makes a mistake and in cutting the judge solo in which he flagellates himself out of guilt for his crimes. without it and the judge is just a conventional villain and and this movie point is that there are no straight villains. both todd and the judge learn and too late and the horrors of having to accept responsibility for their actions and and todd loses everything in his obsession. this is well brought out by the chilling reprise of the grim yet rollicking ballad of sweeney todd and ending the show with todd and lovett rising from the grave to tell us that the end is the same represent in a world full of sweeneys and vengeance begets only vengeance. attend the tale of sweeney todd. he served a dark and a vengeful god. to seek revenge may lead to hell and but everyone does it and and seldom as well as sweeney and as sweeney todd and the demon barber of fleet street. 
the story of sweeney todd evokes memories of the work of classic writers like charles dickens and and more contemporary writers like edward gory. as a musical and it naturally becomes more like the musical les miserables. both deal with the grim effects of poverty in the industrial revolution and and the breakdown of organized society. but this musical is different from les mis in one very important aspect represent stephen sondheim and the songwriter who can adapt to any style. to be sure and he had his successes and failures and but one thing about his shows you can always count on represent they will be something unique. who would have thought someone would write a musical about a barber who slits people throats and makes them into meat pies. sondheim did and and he did it marvelously. the entire show is set in a factory and to suggest the ever present catastrophic effects of the misery of those at the bottom of society and and this serves the needs of the show perfectly. the catwalks and railings are moved throughout to suggest streets and walkways and bridges. techniques are borrowed from kabuki and noh and with the visual stagehands and set changes. then and to top it all off and cast the great angela lansbury as the gruesomely practical and humorous mrs. lovett and and george hearn and with his operatic baritone voice and as the murderous todd and and you have got yourself a stellar musical vehicle. the rest of the cast moves smoothly through the clichés of the love story perfectly and except for johanna and pirelli and who sound a bit too forced. if the johanna and pirelli from the broadway show could be here and it would be perfect. hearn acts while he sings more than len cariou on the obc album and and the accents do not sound as forced here. through it all sondheim score never fails to underline the dark seriousness of the story. as i said and he can adapt to any style. in follies he imitates the 30s 40s style of showtunes and in pacific overtures he captures the subtle art of asian music and into the woods knocks off the 32 bar disney style songs and and assassins covers a history of american music. here and however and he does wonders in making his score distinctly english and from parlour songs to operatic duets and soliloquies to society waltzes to gilbert or sullivan style patter. and yet still and the show remains deadly serious and even though it provokes more laughs than any musical comedy. in it still and is a grim warning on the evils of taking revenge. here is where this movie makes a mistake and in cutting the judge solo in which he flagellates himself out of guilt for his crimes. without it and the judge is just a conventional villain and and this movie point is that there are no straight villains. both todd and the judge learn and too late and the horrors of having to accept responsibility for their actions and and todd loses everything in his obsession. this is well brought out by the chilling reprise of the grim yet rollicking ballad of sweeney todd and ending the show with todd and lovett rising from the grave to tell us that the end is the same represent in a world full of sweeneys and vengeance begets only vengeance. attend the tale of sweeney todd. he served a dark and a vengeful god. to seek revenge may lead to hell and but everyone does it and and seldom as well as sweeney and as sweeney todd and the demon barber of fleet street. ---------------------------------Answer Question Below----------------------------------

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