When Jacob discovers clues to a mystery that stretches across time, he finds Miss Peregrine's Home for Peculiar Children. But the danger deepens after he gets to know the residents and learns about their special powers.
Samuel L. Jackson
In the Victorian London, the barber Benjamin Barker is married to the gorgeous Lucy and they have a lovely child, Johanna. The beauty of Lucy attracts the attention of the corrupt Judge Turpin, who falsely accuses the barber of a crime that he did not commit and abuses Lucy later after gaining custody of her. After fifteen years in exile, Benjamin returns to London under the new identity of Sweeney Todd, seeking revenge against Turpin. He meets the widow Mrs. Lovett who is the owner of a meat pie shop who tells him that Lucy swallowed arsenic many years ago, and Turpin assigned himself tutor of Johanna. He opens a barber shop above her store, initiating a crime rampage against those who made him suffer and lose his beloved family.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The tradition for the stage productions of the musical has been to play Tobias as a grown man who is mentally challenged, not an actual little boy (as was the case in the movie). For example, Kenneth Jennings, the actor who played the role in the original Broadway production, was 31 years old on opening night. Neil Patrick Harris was 27 years old during the 2000 concert performances, and Manoel Felciano was 35 years old at the start of the 2005 Broadway revival. See more »
When Sweeney is running and singing in the streets, you can see his reflection when he puts his face in another man's face. See more »
I have sailed the world, beheld its wonders, from the Dardanelles to the mountains of Peru. But there's no place like London.
No, there's no place like London.
You are young. Life has been kind to you. You will learn.
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The final act in the US version uses different angles than the International version of the film during some extra violent deaths. The different angles focus more Sweeney instead of the immense amounts of blood that can be seen more vividly in the International cut. All in all it only amounts to around 3-5 seconds that are actually different and were needed in order to get the R-Rated in the US. See more »
Polarities. Art as a lifeline. Where was his best director nom?
Just five minutes in I felt a melancholy for how great it is making me sad it would finish. Its bipolarity shows both ends are 'us'. Losing your soul in aging, such works of theater are society's lifeline to feel. It's strange because of how American audiences are so puritan and usually despise theatricality, self-awareness or romanticism; it's as if the musical gives permission to partake.
See how the shave is presenting dignity for 'appearance', being the cleaned face of the societal machine; even there's a rival barber, it's a 'cut-throat' industry to make people nice to service the rotting. The rot is hoisted up by the broken; so the craziness of this is how Todd integrates as a twisted functional. It even rewards him with a checklist of fulfillment, but he could not embrace it. "The ghosts don't leave. They never leave."
This is because he is not real but a stand-in for Dante's London. See how he always creeps up, appears, or looks in the mirror as if surprised he even exists. The film brings this point home showing him as a stuffed figurine behind the window from afar, or as a mannequin in Lovett's fantasy. He is a symbol, a hero redeemer of this demonic ritual; an outgrowth of the dregs where the demon humanity run free for mischief. I like how early on the camera dances through the streets like an imp making sure every rat is still in its place, "I'm home!"
Those powerful gushings of blood show as feeling. We trade allowing this for the civility of living. The mad women ripping the asylum keeper apart, who kept a collection of crazies. There are hints of many different Sweeneys across this, difference being ours redeems, making his evil woke. This is the only Batman you're going to get here. Gotham wept.
Depp; when ever do you get a vehicle for this sort of one dimensional purity of rage? The face as performance landscape. A complete reversal in Edward Scissorhands. "My arm is complete," in both films. Both are these glam rock figures. There, goth within suburbia, here, musical theater within goth. Art as always is the great symbol; the hair cutting versus the shaving as creative and destructive tools for shaping the universe; Burton's paintbrushes.
It's about the torture of certain kinds of men who seek control, and can't bear life not offering that, so seek it at all costs in other ways outside their failing. Its tragedy shows how fate is very much in favor of those with purpose; you realize if only Todd sought industry rather than murder he would rule Judge Turpin politically not violently, and with ease.
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