Integrating adult themes into the stories of popular fairy tales, director Rob Marshall and his team of musical veterans have created something quite magical out of Into the Woods. And though it isn't quite perfect and wears its "˜campy' badge with great honor, I have to applaud everyone involved for the final result.
Opening with an intricate (though brilliantly played) performance of Sondheim's original song "Prologue: Into the Woods", the film quickly establishes itself as a fluid blend of wit, humor, magic and mystery. The song introduces all the main players and their current state of being, allowing viewers to understand the film's original plotline, as well as those, more familiar, that lie within its boundaries.
The film, rooted in fairy tale lore, is actually much darker that the usual Disney fluff. Though a far tamer version of the original Broadway play that hit the New York City stage in 1987, it still ventures into the darker themes of adultery, murder and kidnapping (amongst others). And with the effort to present the classic tales of Cinderella, Rapunzel, Jack and the Beanstalk and Little Red Riding Hood in a more natural light, those who relish in the innocence of childhood should take note that these alternative tales don't necessarily end with "˜happily ever after'.
The music, rich in creativity, is, from start to finish, a masterful work of art. Much of that credit goes to songwriter Stephen Sondheim. But it should be noted that without the stellar performances of Meryl Streep, Emily Blunt, Anna Kendrick, Chris Pine and the truly magnificent James Corden, each song would have wilted by the side of the dirt path, destined to be long forgotten by credit time.
Highlights other than the opening number include "Agony", "Any Moment" and "Last Midnight". Each encompasses a separate part of the film, furthering the argument that at the end of the day, the music is a truly vital component to the story's success.
Though there is a rather awkward moment when Little Red Riding Hood (perfectly played by Lilla Crawford) is recalling her encounter with the Wolf on her way to Grandmother's houses, my only real frustration with the film lies within the painfully drowsy pacing that the story takes on during its final twenty minutes"”this all coming after an unexpected (though understood) fake ending.
Up until that point, the film had carried a sense of purpose, keeping us all entranced within its grand production as we found ourselves lost within the lyrics, melodies and refrains. I don't know exactly what happened, but am thankful that it ended when it did, solidifying itself as one of the better films of 2014.
