スウィーニー・トッド フリート街の悪魔の理髪師 (Blu-ray Disc)
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フォーマット | 色, ドルビー, ワイドスクリーン |
コントリビュータ | アラン・リックマン, ヘレナ・ボナム=カーター, ティム・バートン, サシャ・バロン・コーエン, ジョニー・デップ, ティモシー・スポール |
言語 | 英語 |
稼働時間 | 4 時間 40 分 |
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世界が待っていた、ジョニー・デップ × ティム・バートン監督コンビ最新作!
いらっしゃいませ。そして、永遠にさようなら。
舞台は19世紀の英国ロンドン。無実の罪で投獄され、その首謀者に妻も娘も奪われた男が、名前も姿も変え、ロンドンのフリート街へ戻ってくる。15年ぶりに再開した理髪店、そこで腕を振るうのは、殺人理髪師スウィーニー・トッド。胸には復讐、目には狂気、そして手にはカミソリを――。
そんなトッドの共犯者となるのはトッドに思いを寄せる、売れないパイ屋の女主人。2階の床屋へ入ったお客は、好むと好まざるとにかかわらず、階下のパイ屋へ行く仕組み。やがて煙が立ち昇り、この世のものとは思えない美味しいパイが焼きあがる・・・!
※R-15指定 一部、残虐なシーンが含まれます、ご了承ください。
【映像特典】
ティム・バートン、ジョニー・デップ、ヘレナ・ボナム=カーターの挑戦
ドキュメンタリー: 悪魔の理髪師の真実
ミュージカル音楽の巨匠ソンドハイムと“スウィーニー・トッド”
“スウィーニー・トッド”の舞台ロンドン
グラン・ギニョール劇場の歴史と伝統
“スウィーニー・トッド”の美術デザイン
メイキング: ノドを切り裂く
ミュージック・クリップ:“スウィーニー・トッド”のリフレイン
スチール・ギャラリー
※掲載のジャケット、及びスペックは変更になる場合があります。
Amazonより
ティム・バートン監督×ジョニー・デップの6度目となる顔合わせは、傑作ブロードウェイ・ミュージカルの映画化。19世紀のロンドンで、床屋がカミソリで客を殺し、階下の女主人が死体を材料にミートパイを作って売る。ショッキングな物語で、オリジナルの舞台版でも大量の血が流れる異色の作品だ。バートンは、オリジナルの精神に忠実に料理したと言っていい。モノクロのようなダークな映像に、人工的な鮮やかな真紅色の血が流れては、飛び散る。あくまでも「作りもの」の様式美に、パックリ割れる傷口で映像ならではの残虐性を加味。バートンらしい、リアルさとケレン味のミックスした世界にどっぷり浸らせてくれる。
本格的な歌は初挑戦だというジョニーは、自らの魅力的な声質を存分に生かし、オリジナルの複雑なメロディを見事にこなしている。その他、アラン・リックマンの嫌らしいまでの悪役ぶりや、サシャ・バロン・コーエンの名人芸的な道化演技など、全キャストがすばらしい。映像と演技によって、この映画版は、もはやミュージカルというジャンルでは括れない怪作に仕上がったが、登場人物の複雑な愛憎ドラマにはしっかりと焦点を当て、行き着く先のラストシーンは、愛の終幕として完璧な図となっている。(斉藤博昭)
登録情報
- アスペクト比 : 1.78:1
- メーカーにより製造中止になりました : いいえ
- 言語 : 英語
- 梱包サイズ : 17 x 13.4 x 1.2 cm; 81.65 g
- EAN : 4988135707833
- 監督 : ティム・バートン
- メディア形式 : 色, ドルビー, ワイドスクリーン
- 時間 : 4 時間 40 分
- 発売日 : 2008/6/11
- 出演 : ジョニー・デップ, ヘレナ・ボナム=カーター, アラン・リックマン, ティモシー・スポール, サシャ・バロン・コーエン
- 字幕: : 日本語, 英語
- 言語 : 英語 (Dolby Digital 5.1)
- 販売元 : ワーナー・ホーム・ビデオ
- ASIN : B0016OTUMS
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 50,950位DVD (DVDの売れ筋ランキングを見る)
- - 278位外国のミュージカル映画
- - 1,638位外国のミステリー・サスペンス映画
- - 4,962位ブルーレイ 外国映画
- カスタマーレビュー:
イメージ付きのレビュー
-
トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
アラン・リックマンがセクシーでした
感無量です
でもホラーなだけあって、やっぱりMADな作品です。
借りるので十分だったかなって思いました。
全キャストの演技、歌が素晴らしかった
主要な登場人物の中で、「一人として歌わない人物はいない」です。
一人一人のキャラクターを登場から退場まで上手に描いています。
目的も極めて明白。
主人公:妻を奪った男を殺したい。
ヒロイン:主人公と幸せな家庭を築きたい
ターゲット:スケベ
ターゲットのお付き:おしゃれで真面目
若者:ジョアナが好き
ジョアナ:逃げたい
なぞの浮浪者:動きがやばい
復讐劇として非常に完成度が高いです。
他の国からのトップレビュー
The quality was as expected, ASTOUNDING!
Here's a couple of things to consider as background to this film:
Movie musicals died a long time ago when audiences tired of them. The height were Rodgers & Hammerstein extravaganzas like Oklahoma! (50th Anniversary Edition) and The King and I (50th Anniversary Edition) . Modern audiences thought the whole conceit of characters breaking into song to be just plain hokey. But some films tried a more sophisticated approach: High Society (1956) was a remake of the witty The Philadelphia Story (1940) with original songs written for the film by Cole Porter. It's a great movie because the songs were added in small, intimate ways, consistent with the dialogue. There are no giant dance or production numbers. Sophisticated leads Frank Sinatra, Grace Kelly, Bing Crosby and Celeste Holm were allowed to easily slide from speaking to singing, the transitions were cool and realistic, and the music genuinely reflected the characters and situations.
Tim Burton's Sweeney Todd has taken this approach and refined it further. Other reviewers have given you the story and detail, so I'll skip all that. But a real gift of this film has been Burton's ability, with Sondheim's approval and contribution, to change what was a stagebound spectacle into an intimate film with real, relatable characters. The music seems to slide in as a complement to the action and the visuals. Yeah, people start singing, but the entire drama is personal. There is great subtlety in the relationship of Todd and Mrs. Lovett, and this film focuses on that intimacy, while most musicals pull the viewer *out* of the drama. You see this in the way Burton shot the film: in the old days, songs and production numbers were shot to give an audience the feel of the same scene onstage - showy and unrealistic. More recently, directors unfamiliar with musicals used angles very at odds with the action. A good example is Woody Allen's Everyone Says I Love You . In this film, he often shot musical sequences with a different technique than the spoken scenes, but it comes across as out of synch. It's a hard thing to nail, shooting people singing. But Burton pulled it off, and brilliantly: in Sweeney Tood, songs are shot as though characters are simply having a discussion with each other.
Really, everything about this film is perfect: the script, and shortened version of songs work ideally for film; the visuals, with Oscar-winning art direction by Dante Ferretti, are breathtaking; cinematography by Dariusz Wolski is quick, exciting, fresh; editing -- especially the hilarious "Worst Pies in London" -- by Chris Lebenzon is dazzling. The orchestrations are also something unprecedented: this is one of the most beautiful scores ever, but Burton and Sondheim went a step further, beefing up the orchestra from around 35 players in the stage version, to something like 70. The result is an incredible richness and depth, a sound that's so big and so effective, especially against the intimacy of the story and the voices. Orchestrator Jonathan Tunick and conductor Paul Gemignani have created one of the best musical soundtracks in the history of film.
And then of course, is the cast.
Edward Sanders is unbelievable as the boy Toby; he's the right age for the part, and his voice is clear and strong. He's got the right accent and look, and despite playing a tough street kid, his scenes of tenderness with Mrs. Lovett are heartbreaking and convincing. Burton is often portrayed as a gothic/artsy director, but I think people overlook his brilliance at drawing poignancy in the most unlikely places. His selection and direction of this great young actor remind us of that.
Jamie Bower and Jane Wisener are ideal as the young lovers: Bower is literally wide-eyed with yearning and wonder, and Wisener is beautiful, innocent and lovely. Again, Burton sketches the story by selecting these exquisitely perfect unknown actors.
And then you have Depp and Bonham Carter. These are two artists at the height of their powers and they are both extraordinary. Depp is an amazing actor, for all the reasons others enumerate here. He is so gifted: he shows us Todd's hard, vengeful crust for most of the story, but softens and nearly seduces Judge Turpin under the razor. Then, near the end, where he realizes what he's done to the beggar woman and who she is, his madness disappears for a flash, and Depp reveals the man Todd once was, his sudden, tragic realization of what he's done, and then, in a flash, it's gone. Few actors have his ability to show such a range of subtle colors and textures. Like the visuals of this film, the first impression is one of grayness and gloom, but on second and subsequent viewings, the amazing amount of detail and subtlety really reveal themselves.
And finally, Bonham Carter. I think the play's hardcore stage fans have unfairly compared her to Lansbury and others. This is an entirely different performance. Bonham Carter finds the subtle, absurd, dry British humor in this character, as well as her very real and touching sadness. She plays it like a drawing room drama, not a music hall belter. And that is the truer and more realistic approach for the modern musical.
Two other great actresses also tried this to different reaction: Audrey Hepburn sang in her own voice in Breakfast at Tiffany's (Special Aniversary Collector's Edition) and audiences were entranced with her lovely but imperfect sound. However, Hollywood would not allow her own voice for My Fair Lady , and she was dubbed over. Similarly, Ava Gardner sang her own songs in Show Boat but again she was dubbed. If you listen to the reissued soundtrack to Show Boat: Original Motion Picture Soundtrack (1951 Film) , you get the original outtakes sung by Ava Gardner, and you know what? They are far better, more authentic and richer than the dubbed versions. It was a mistake not to use Gardner or Hepburn's own voices, and those films seem dated because of it. In Sweeney Todd, Burton was wise enough to have all the actors use their own voices, and Bonham Carter's interpretation in particular is lovely and personal -- and like everything else about this film, appropriately perfect.
I'm guessing that in DVD many more people will be struck by how great an achievement this film really is. At least, I hope they will be. Tim Burton's Sweeney Todd may be one of those films that did only moderate box office in original release, but will, upon future screenings, be recognized for the landmark achievement it is in the history of film. Every actor, every shot, every edit, nuance, costume and moment -- is perfection.