Burton, Depp intrigue fans

Tim Burton is known for directing odd and highly visual movies. Johnny Depp is known for playing odd and sometimes demented characters. Stephen Sondheim is known for writing odd and operatic musicals. Their combined efforts for a movie version of Sondheim’s “Sweeney Todd: The Demon Barber of Fleet Street” became one of the most anticipated movies of 2007.

Audience members who caught glimpses of the much-shown trailer may not have gotten bits and pieces of the film’s elements, but the same two questions most likely were posed: Is this really a film about a vengeful barber who allows his murder victims be turned into meat pies? And is this really a musical?

To answer both questions, yes. And for the most part, the film — musical elements and all — works. The orchestrations remain classic, and Sondheim and the supporting cast handle their material well. Another plus is the way Burton captures the gothic visuals Sondheim’s script evokes.

What Burton’s movie lacks are the two elements that have made “Sweeney Todd” one of Sondheim’s most popular works: wit and emotional depth. The dark humor is played so straight it loses all impact.

For example, Depp’s Todd does not have fun with his cohort in crime, Mrs. Lovett (Helena Bonham Carter), while imagining the twisted possibilities of their new found source of revenue during the darkly twisted song “A Little Priest.” This isn’t helped by the song’s cuts. Many of the funniest jokes and wordplays that could have helped the actors highlight the humor are gone.

Depp’s stoicism is used visually for a laugh during Mrs. Lovett’s fantasy sequence “By the Sea,” but it’s a one-note joke that carries on far too long.

This problem is based in Depp’s lack of emotional range. From Depp’s first guttural verse until his last, he keeps the same expressions and affectations. Depp’s Todd is not a desperate man slowly pushed to the edge as his life spirals out of control, but merely a crazy guy who starts killing people.

Depp also stumbles with the music. Depp is better than expected but cannot consistently mesh well with Sondheim’s difficult score.

The supporting cast scrambles to fill the black hole formed by Depp’s singing and acting. Unfortunately, they are not given much to do. Almost the entire story between the romantic leads has been eliminated, making their plot stretch all credulity. Alan Rickman and Timothy Spall practically revive their repugnant “Harry Potter” roles as Snape and Wormtail. Helena Bonham Carter makes an effective Mrs. Lovett, but Depp doesn’t give her much to work with.

Film goers will not be entirely disappointed. Burton, Depp, and Sondheim all leave a thumbprint on this film, but not enough to appease their fans.