When presenting a musical – and Disney’s first ever adaptation of a Broadway play – it couldn’t be left in more reliable hands, than that of director Rob Marshall (Chicago), and composer Stephen Sondheim (West Side Story, Sweeney Todd). It’s proved to be something a triumphant collaboration, as to counteract the grandiose supernaturalism, with giants, witches, spells and magic beans – are the constant themes of grief and loss, as an enchanting picture that is grounded by its distinct profundity.
When the Witch (Meryl Streep) sets a humble Baker (James Corden) the task of tracking down several items, she promises that his reward is to reverse the spell which has cursed his family for prior misdemeanours, disallowing the Baker’s Wife (Emily Blunt) the ability to bear children. So the Baker sets off into the woods, where he encounters Cinderella (Anna Kendrick), the Prince (Chris Pine), Red Riding Hood (Lilla Crawford) and Jack (Daniel Huttlestone), hoping to piece together the specific items required, not realising that his very actions kickstart a domino effect throughout the kingdom, that could put all of their lives in danger.
Following on from the success of Frozen, Disney have yet again offered a film that subverts expectations, in what is a more pragmatic, humanised fairytale. It plays with our perceptions, and deviates away from convention, while, most significantly, giving the female characters more of a voice and identity. Traditionally speaking, in fairytales we meet a desperate girl who becomes enamoured by her Prince Charming, only to live happily ever after, whereas in Into the Woods characters such as Cinderella have a little more say about their own destiny.
Despite the human themes explored in this picture, Marshall never loses sight of the enchantment that exists, which is evident in how tongue-in-cheek it can feel at times. Pine epitomises this notion, as the most comical performer on show – and it’s the only way to approach this project (he’s playing Prince Charming, you’ve got to ridicule it to get away with it).The stellar cast – which also includes the likes of Johnny Depp and Christine Baranski, are irrepressibly hammy, in the most endearing way – with Streep in particular standing out in that regard, treating the role of the Witch like a pantomime villain of sorts, evidently having much fun in the process. The smartly devised, poetic and witty lyrics help in that department, but the songs themselves are most forgettable. Rather than have a series of catchy, individual tracks, instead Into the Woods has an inclination to almost sing dialogue, to a rather generic backing tune. But such is the strength in the lyrics, Sondheim can be excused for the lack of a memorable melody.
Into the Woods does lose its way a little, and there’s a palpable moment when you know that on stage this is where the intermission takes place – and sadly for Marshall, you feel that the latter half is not nearly as strong as the first. It all gets a little too farcical and we lose any sense of any linearity. Thankfully the picture can be forgiven due to the frivolous, playful tone that exists throughout, but nonetheless it makes for a rather unfulfilling conclusion to what is otherwise an extremely fulfilling piece of cinema.
