Synopsis: A modern twist on the beloved Brothers Grimm fairy tales, intertwining the plots of a few choice stories and exploring the consequences of the characters’ wishes and quests.
Stars: Meryl Streep, Chris Pine, Emily Blunt, Tracey Ullman, Frances de la Tour, Johnny Depp, Lucy Punch, Simon Russell Beale, Tammy Blanchard, James Corden, Anna Kendrick, Christine Baranski, Billy Magnussen, Lilla Crawford, Daniel Huttlestone, MacKenzie Mauzy, Richard Glover, Joanna Riding, Annette Crosbie
Director: Rob Marshall
Running Length: 124 minutes
Trailer Review: Here & Here
TMMM Score: (7.5/10)
Review: If there’s one take-away from the big-screen adaptation of Stephen Sondheim & James Lapine’s Into the Woods it would be that director Rob Marshall proves once again that it’s possible to transition a stage-bound work quite nicely to the silver screen. As he did with his Oscar-winning Chicago (which, to be fair, was a far trickier beast to wrangle), Marshall brings a sense of wonderful theatricality to the proceedings that helps keep a saggy second act afloat.
Arriving on the heels of the disappointing remake/reboot of Annie, the first 75 minutes or so of Into the Woods is a gleefully wry take on the fairy tales we all grew up with. There’s Little Red Riding Hood (Lilla Crawford) spunky as all get-out, even when faced with a zoot-suited Wolf (Johnny Depp, The Lone Ranger) intent on making her his next meal. Depp is, pardon the pun, howlingly bad in his brief cameo and you’ll be glad to know that his total screen time amounts to about 5 minutes…which still feels too long.
We also get Cinderella (Anna Kendrick, Pitch Perfect) fresh-faced and clarion voiced even under a pile of soot. Kendrick has true musical theater chops and Marshall gives her a wonderful moment to shine in a delightfully reimagined “On the Steps of the Palace” which takes place in a bit of suspended time as Cinderella ponders her next move.
Then there’s the Baker (James Corden, One Chance) and his wife (Emily Blunt, Salmon Fishing in the Yemen) so desperate for a child they agree to fetch items for a next-door Witch (Meryl Streep, Hope Springs) who promises in return to have the ‘curse reversed’. Venturing into the woods (a-ha!) to find the items they run into Little Red, Cinderella, as well as a pre-Beanstalk Jack (Daniel Huttlestone), Rapunzel (MacKenzie Mauzy), and a variety of other storybook figures.
It’s within the first half of the film that the best scene arrives featuring two puff-chested Princes (Star Trek’s Chris Pine and Broadway newcomer Billy Magnussen) hysterically belaboring their romantic entanglements (one with Cinderella, one with Rapunzel) while traipsing around a waterfall. It’s the crown jewel of a film sparkles quite a lot.
Then something happens…and if we were in a theater I would say it was Intermission.
You see, it’s in the second half of the film that I found the same sort of problems I have with the stage show. I know that the whole point of the second act of Into the Woods is to show what happens “after happily ever after” and that’s all well and good but where the stage show becomes somewhat intriguingly heavy handed the screen musical loses its spark and never fully recovers.
That’s due in some small part to the ‘Disney-fication’ of the film. With the House of Mouse forking over the dough for funding certain adjustments were necessitated and that includes softening of more than a few rough edges that helped define the stage musical. Now, certain tragedies that helped drive the musical to a conclusion onstage are rather toothless here…with some changes downright confusing from a narrative point of view. Even die-hard fans of the show may be left scratching their heads wondering what just happened.
Were the performances not so strong, this type of late in the game mishap may have spelled certain doom for Marshall and company but he’s assembled a frothy cast with several unexpected delights. Streep is, of course, right on the money with her hag witch popping up (and in and out) at just the right moments. She eschews the delivery of any previous Witch and makes the part wholly her own. I question the decision in the second half to give her a peculiar set of buck-tooth veneers that have a worrisome impact on her speech but otherwise she looks and sounds exactly how you’d imagine.
The roly-poly Corden and ethereal Blunt make a nice pair and the two play off of each other quite nicely. Both have pleasant voices with Blunt the real surprise as she tackles the difficult passages Sondheim created. Crawford, Mauzy, and Magnussen acquit themselves nicely but as the film progressed I found that Pine’s bo-hunk royal, with his affected upper-crust accent, didn’t work for me. Pine takes the cartoon-y nature of his character a bit too far and Marshall should have reined him in a bit.
With a gorgeous production design (the majority of the film was shot in a man-made forest) and Colleen Atwood’s trusty duds the film looks like a fairy tale come to life. Even with a slower second half the film doesn’t feel long and breezes by as fast as Sondheim’s score. Worth a trip into the theater.