“If you go down to the woods today, you’re sure of a big surprise. If you go down to the woods today, you better go in disguise”..... while that wasn’t the greatest dogging invitation I’ve ever had it does get a few light flashes for imagination. As do the woods in general; ever a place to get our creative juices flowing as well as a Mecca of casual sex for those who lack the social skills, personality, personal hygiene, 3 digit IQ or orthodox spanning family tree to meet people in the real world (naturally I fit right in). Ever a location setting oozing natural creepiness and wonder in films from horror slashes painting the trees with fresh teenagers to fantasy adventures taking in a backdrop of natural splendour. There’s much to be gained from going into the woods as a new a fairy tale mega mix stage musical adaptation looks to prove. So grab some magic beans, fetch you’re transvestite wolf and that girl with too much hair for most guys (no.....we haven’t gone back to dogging) and see where the journey takes you.
A childless Baker (James Corden – Gavin & Stacey, Begin Again) and his wife Emily Blunt (The Devil Wears Prada, Edge of Tomorrow) set into the woods to undo a curse from a witch (Meryl Streep – The Iron Lady, August: Osage County). While Cinderella (Anna Kendrick – Pitch Perfect, Life After Beth), Jack (Daniel Huttlestone - Les Misérables), Red Riding Hood (Lilla Crawford – debut) and many more try to find their happily ever after within the forest; which proves trickier than expected.
Be warned all who enter, from the get go this is a full on musical; boasting the same level of high singing density that took many a back in 2013s Les Misérables adaptation. At times the stars barely have time to catch their breath between tunes and many a conversation is sung rather than spoken so if that’s a cause of frustration these woods are not for you. However, those who enter are in for quite an audio treat as this fairy tale frolic has some serious scores and numbers within its misty glades. The main horn based overture really has some power to it, instantly signalling dramatic times with its arrival. As for the songs, while there’s more than a few “signing for sake of it” numbers in this vast soundtrack, plenty are able to bring the wood down faster than Columbian lumber contractors. The general recipe for success is strength in numbers as all the best moments come from fantastically arranged multi layered vocal numbers often encircling the vast cast in different locations. From the epic (9 songs combined) stretching opening prologue of introductions or the brilliant later blame game of “Your Fault”. There’s also a few numbers that make for great plays on their Grim source material. A crossing paths of Cinderella’s Prince Charming (Chris Pine – Star Trek, Horrible Bosses 2) and Rapunzel’s (Billy Magnussen – Twelve, Revenge of the Green Dragons) sees the pair hilariously try to do each other in the dashing department in the middle of a river. Or a great witty and playful time freeze of Cinderella legging it from the ball mentally debating if she’s doing the right thing. What’s more, many of the cast really impress with their vocal performances. There’s a good few Broadway hardened larynx on show and particularly the likes of Streep, Blunt and Pine can leave you spellbound at times and the young faces of Huttlestone and Crawford really hold their own against their giant co-stars. If singing is your thing(ing) then Into the Woods is an adventure you’ll be very glad you set out your front door for (after all it’s a dangerous business Frodo).
Now in any fairy tale adaption or parody the key ingredient in the potion has always been satire. In a world based on classical rules and conventions you to be able to laugh at yourself from a modern times perspective as you go along with them. It’s what made the likes of Shrek and Enchanted so enjoyable. Into The Woods does this nicely in places but does on a number of occasions feel like its squandering great meta-gag opportunities and being too rigid in sticking to the stage version script. Most likely because creator/composer Stephen Sondheim had to approve any changes the film made and maybe he was a bit more old school. It’s a shame because it does lead to Into The Woods feeling like its taking itself too seriously in some places even causing them to drag. The film is at its best when being light, playful and fun. Attempts to take things a bit darker really don’t suit it and disrupt the overall tone in the second half. The story does a great shake up of what comes after the original fairy tale endings for all the stories in play as they get increasingly tangled up together but fails to capitalise on the yielded possibilities as much as it should. Yet despite some story niggles, the version we do get is nothing short of a visual spectacle. I may not always throw every praise Disney’s way (I still haven’t come around to Maleficent) but they do know to put the magic on screen. Into The Woods boasts some outstanding production design as the many different woodland settings are presented incredibly and some are joined by some brilliant visual effects as the witch flexes her phenomenal cosmic powers.
This is all star outing is too bulging with sag to rate everyone so let’s just flick to the highs and lows of this gang. Meryl Streep is simply outstanding. Anna Kendrick is brilliant and captivating. Emily Blunt’s quite good and teams well with James Cordon who feels distinctly more average. Chris Pine is endlessly fun while getting his sleazy swoon on. Johnny Depp making a small appearance as the wolf feels largely unneeded (he doesn’t really add anything). Lilla Crawford is the smallest yet most powerful voice on screen and delectably charming in her mannerisms. Daniel Huttlestone doesn’t better Gavroche but still makes very good on his part.
Into The Woods is a film lovingly sprinkled with magic.... the trouble is there just isn’t enough to go round. It’s a bi-polar affair of enthralling and bedazzling highs sadly sitting alongside some drearier lows that prevent it becoming the year’s film musical showstopper. Its loose placing between adult and child targeting (it’s really not for kids) my see it struggle to find an audience but there is a great deal to love here for those that see themselves within its embracing branches.
Recommended for grown up fantasy fans with a musical tolerance, those that enjoyed Les Mis on the big screen and anyone that’s ever wished they were more careful what they wished for.
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