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Sweeney Todd


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Do blog da Ana Maria Bahiana:

SANGUE BÃO

Exibição teste de Sweeney Todd ontem à noite em Los Angeles. Nada de mídia, apenas "civis". Veredito: é bom, muito bom. Pensem Fantasma do Paraíso. Todo mundo canta, mas isso só aumenta o clima sinistro. E o suspense. E o terror. Ah -  sangue pra todo lado...

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Bem este e um papel diferente para o Johnny Depp que está com um tom melâncolico e assustador e um musical com assassinatos e sangue jorrando na tela e algo difícil de se ver hoje em dia mais pelo comentário entusiasmado e a referência bacana de Fantasma do Paraíso do Brain de Palma acho que vale o ingresso e Tim Burton quase não erra com suas obras

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Eis um link para a música que o Johnny Depp canta brevemente no primeiro trailer ("Epiphany"), na versão clássica de "Sweeney Todd", com George Hearn e Angela Lansbury:

 

 

 

 

 

http://www.youtube.com/watch?v=2cNy_uhzK2k

 

 

 

 

 

 

 

No YouTube, há quase todas as músicas, para quem quiser acostumar o ouvido. Minha preferida é "A Little Priest", obra-prima de humor negro interpretada com verve e graça únicas pela dupla de cantores mencionada acima. Qual a sua torta predileta?:

 

 

 

 

 

http://www.youtube.com/watch?v=dYGHHxJnDIw

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Roubando um post do Ronny do tópico do Oscar 2008:

 

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17 minutos de cenas exibidas no Lincoln Center, em NY, foram o suficiente para deixar uma platéia inteira embasbacada com o que viram de Sweeney Todd.

Tom O´Neill, do LA TIMES, diz que o filme vem com tudo para o Oscar (Johnny Depp na esteira) - e que provavelmente é a obra-prima de Burton.

 

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Johnny sings! And 'Sweeney Todd' rocks!

After months of breathless anticipation — Can Johnny Depp sing? Has director Tim Burton used Sweeney Todd's vile razor to cut out the heart and soul of a classic by gutting one hour of the original Broadway musical? — Burton finally unveiled a huge slice (17 minutes) of his film adaptation of a Broadway masterpiece to a screaming crowd at Lincoln Center Wednesday night.

The verdict based upon the crowd's riotous ovation at the end: "Sweeney Todd" is a serious contender to win the Oscar for best picture, just as I've been telling you for months.

Sweeney

Oh, yes, and Johnny handles the singing just fine. He'll never croon arias at the Metropolitan Opera, but he manages to carry the tunes and thus sustain the dramatic thrust of a story that would be as emptied of blood as Sweeney's victims if he didn't. Clearly, he muddles through here and there and no doubt much digital trickery was used in the sound edit bay after filming to fix weak spots, but he's no Lucy Ball butchering "Mame," hallelujah. Even at those peak moments when he can't dodge aiming for the high notes of "Joanna" — while "Sweeney" Broadway nuts like me wince in the audience, knowing the're coming, and fearing the worst — he nails it. Not magnificently, not like when Tony winner Len Cariou or Emmy winner George Hearn performed them with roof-rattling bravado, but capably.

In a very large way, Burton re-invented the Broadway Sweeney. Sweeney's no longer a bedraggled, haggard, frumpy old man who'd be little noticed on the streets of old London, but rather a dashing young Johnny Depp with a shock of white hair that sprung from his brain after suffering the outrage of being imprisoned for 18 years on a bogus charge. (That's the reason Depp gives for his skunk hair look — it's really not meant to be a rip-off of "Bride of Frankenstein," he claims.)

And much of Mrs. Lovett's role has been slashed out, deliberately, even though she was largely the heart and soul of the original musical and even though the part is now played on screen by Burton's fiancé, Helena Bonham Carter. Curiously, Mrs. Lovett is reinvented dramatically, too — she isn't noticeably wacko on film like she was portrayed on stage by Angela Lansbury with goofy expressions, crossed eyes and squealing voice. Carter's Mrs. Lovett seems to be a centered, lonely woman with confidence and carriage, who is still hopelessly smitten with a fiend who barely realizes she's near, worshipping him. If you've never seen the stage musical, I recommend highly that you purchase a DVD of the L.A. production that was filmed by Showtime in 1982 starring Lansbury and Hearn (who took over Sweeney's role, which Cariou pioneered on Broadway) — CLICK HERE to see it at Amazon.com — so you can experience both, vastly different versions of a masterpiece when you also see this film.

Burton has re-imagined this Sweeney as a classic Hollywood horror movie in the old melodramatic tradition of Boris Karloff and Lon Chaney and it works, creepily so. Listen to his explanation in the podcast chat we had backstage before the screening (CLICK HERE).

But that is what makes this film, as brilliant as it seems to be, an Oscar cliffhanger. Academy voters don't choose horror movies for best picture — they even spurned the few that managed to get nominated like "The Exorcist," but they have picked violent movies like last year's "The Departed" and others that celebrated a murderous fiend like Hannibal Lecter in "The Silence of the Lambs." Maybe this time they can now, finally, accept a genre film of the classic horror variety since "Sweeney Todd" proved itself as high art on Broadway first.

Which brings us to the most horrible part of this horror film: the generous spouts and fountains and floods and gushes of blood we see over and over as Sweeney applies his razor to the throats of witless men who innocently step into his upstairs barber shop for a shave.

Yes, the scenes are disgustingly graphic. Burton's camera gets up close so the blood spits right out at the audience as the eyes of Sweeney's victims bug out in shock. But the scenes are so outrageous that they seem unreal, repeated one after another as Sweeney sings dreamily of his longing for his vanished wife Joanna. Believe it or not, those throat-slashing scenes aren't the most shocking parts. Worse — what makes the audience shriek and jump from their seats — is watching the bodies get dropped to the basement through a trap door, landing on their heads, going splat, while we hear the slashed necks crack. Again and again. You can't believe the audacity of this genius filmmaker as you watch. And you can't help but love Burton for making you cheer on every next flick of Sweeney's revenge-wreaking razor.

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não sei se já foi postado, mas...

Tim Burton esteve em um programa chamado "Uma noite com Tim Burton" no qual conversou sobre sua trajetória no cinema e no fim da entrevista apresentou três clipes de Sweeney Todd, os quais descreveu como "Sweeney comes home, Sweeney gets pissed off,"e "Sweeney gets down to business." Correspondem às músicas "My Friends," "Epiphany," e "Johanna." Dá pra ouvir claramente os risos e gritos da platéia, e parece que foi muito bem recebido pelos críticos! Estão circulando por aí os audios de Johanna, My Friends e Epiphany!
Vale a pena lembrar que não é o Johnny quem canta no início de Johanna, é o Jamie que faz o personagem Anthony Hope.


Download:
Johanna
My Friends (incompleta)
My Friends (completa) [spoilers]
Epiphany [muitos spoilers]

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Achei esse fundo muito artificial' date=' meio tosco até.[/quote']

 

Artificial é pouco... Mas, sinceramente, não venho me impressionando muito com a falta de cuidado em algumas montagens que vejo em filmes de "fantásticos" ultimamente... É só pararmos para observar a cena de Harry Potter e a Ordem da Fênix, que os bruxos voam em suas vassouras... A montagem ficou terrívelmente ridícula...

 

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