Respond to these rapid questions in our Into The Woods quiz and we will tell you which Into The Woods character you are. Play it now.
I didn’t realize how dehydrated my soul had become until I was cast away on a desert island where all of the Broadway show tunes had been banned; now I see how desperate I had been for some movie musical refreshment. “Les Miserables” seems to have been released a very long time ago, and despite the fact that I played the vinyl record of the Four Seasons’ “Gold Vault of Hits” album to death when I was younger, this Sherry bay-ay-bee could not stomach Clint Eastwood’s disappointing adaptation of “Jersey Boys.”
Regarding the new version of “Annie” that is currently being performed, let’s just say that there is always tomorrow for “Tomorrow.”
But then, as if a siren’s song were caressing my needy eardrums, I heard the opening notes of the “Act One Prologue” of “Into the Woods,” with its hypnotic staccato-like lyrics and the insistent refrain of “I wish… I wish… I wish.” This song was like a siren’s song to me. And all of a sudden, I felt as though my entire being had been satisfied simply by being in the hazy middle of this much-delayed cinematic rendering of one of Stephen Sondheim’s most well-known shows.
Disney is behind the film adaptation of this melody-laden fracturing of fairy-tale myths, which onstage could be quite grim as it upends the traditional notion that “once upon a time” always leads to “happily ever after.” Disney is behind the film adaptation of this melody-laden fracturing of fairy-tale myths. There has been a great deal of conjecture regarding the second half, specifically regarding the question of whether or not certain key adult-oriented elements that might not conform to a PG rating will make the cut.
Sondheim fans who are fanatical about the composer’s work might find fault with the way the film’s depiction of violence has been toned down or eliminated entirely, and they might be disappointed that the conclusion isn’t as gloomy. However, Mickey Mouse has nothing to do with this in any way. The casting seems almost entirely spot on (nicely modulating the potential comic-diva overload of having both Christine Baranski and Tracey Ullman, whose part is actually more serious, in the same film). The singing is often of a very high caliber. The humorous elements are executed with aplomb. The pace can be described as being fairly quick. In addition, it never gives the impression of being a static adaptation of a theatrical event that has been simplified for an audience comprised of younger people.
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And, most importantly, the themes concerning the unrealistic fantasies and desires that parents instill in their children that often result in unintended consequences comes through loud and clear, thanks to James Lapine’s adapted screenplay that is based on his own stage version of the play.
This effort may not be enough to get director Rob Marshall completely off the hook for his disastrous “Nine” in 2009, and it is not even close to being as star-studded, sophisticated, or sexy as his feature film debut, “Chicago,” which was released in 2002. However, he does an excellent job of preserving the fundamental coherence of the piece as a whole. In addition, for those of us who are never happier than when there are a large number of people singing at the same time, “Into the Woods” consistently manages to be quite enchanting in its disenchantment about what life offers–or doesn’t offer.
The Baker and his wife (James Corden and Emily Blunt, in a role perfectly suited to them), who are unable to have a child despite their best efforts, are the driving force behind the ingenious plot with its intertwined fables. Meryl Streep, who is clearly enjoying herself even more than when she jumped on that bed in “Mamma Mia! “, plays the Witch, who explains how she cursed the couple as retaliation for a wrong done to her by the Baker’s father. The Witch then whirls into their shop and explains how she cursed the couple. She goes on to say that they will be able to turn their misfortune around if they are able to locate four items in a span of three days as follows: “the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold.”
Into The Woods Quiz
The cow was provided by Jack of Beanstalk fame, who was gamely portrayed by Daniel Huttlestone, the very same young man who played street urchin Gavroche in the major motion picture adaptation of “Les Miserables.” The cape is a reference to the clothing that was worn by Little Red Riding Hood, who was hilariously portrayed by Broadway veteran Lilla Campbell with a lot of brattiness on the verge of entering puberty. The hair is provided by a tower-dwelling Rapunzel (MacKenzie Mauzy, who is somewhat of a weak link in this lineup), who was brought up by the Witch as if she were her own daughter. Cinderella, played to the hilt by Anna Kendrick, who is becoming quite the movie-musical mascot, is the natural source of the shoe, of course, and she does a pitch-perfect job of it.
Also, you will find out which character are you in this Into The Woods quiz.
As the phrase in the heading suggests, all of their routes will eventually take them into the forest. It is a terrifying place where many of the characters lose their bearings, both morally and ethically as well as in other ways, and danger regularly lurks, most notably in the form of Johnny Depp as the Wolf in the role he plays in the film. After Red Riding Hood has successfully conned the Baker out of more than a few sweet samples, he approaches her with a ravenous and lupine lust. Red Riding Hood is well-fed at this point. The actor’s most effective assets are his lascivious vocals, whiskers that are reminiscent of Salvador Dali, and snazzy zoot suit designed by the great Colleen Atwood that is adorned with tantalizing faux gray-blue fur.
However, his appearance is brief, and in terms of crazy Depp-like interludes, it is actually quite non-disruptive and understated. Rarely does he play a part in which he is subservient to the work rather than the other way around.
In due time, each person’s wish will be granted, albeit in a manner uniquely their own. Then, in the third and final act, everything falls apart, a matter that is made worse by the tree-menacing intrusion of an angry she-giant (an awkwardly done visual effect with a human actress), who seeks vengeance after Jack is responsible for the death of her equally large husband. A communal healing process is eventually brought about by death, infidelity, disillusionment, and pointing fingers, which will certainly ring true to audiences who are regularly exposed to such real-life aftermaths in the wake of tragic disasters both natural and man-made in today’s world.
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But “Into the Woods” wants to entertain as much as it wants to enlighten, which is a wonderful thing, and two standouts among the actors do more than their share to ensure that the first goal is definitely met. It goes without saying that Le Streep leaves virtually everyone else in the dust, and this was done on purpose. This is one ugly crone who knows how to make an entrance and an exit as if she were an unwelcome weather event. She is reminiscent of the Wicked Witch of the West (with a dash of Glinda on the side), and she also shares some similarities with Glinda.
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The show’s best songs, “Stay With Me” (a maternal lament) and “Last Midnight,” a tour-de-force in which she arrogantly proclaims, “I’m not good, I’m not nice, I’m just right. ” are both elevated to new heights by the performance of Oscar’s favorite actress, who infuses them with an emotional fire that is palpable. I am the wicked witch. You are the entire universe.” Meryl also works her magic with the dialogue, at one point giddily exclaiming “Oh my God” as if she were a text-happy teenybopper. This is just one example of Meryl’s incredible talent.
Chris Pine, whose preening, poising, and pompadoured prince at first has difficulty sweeping Anna Kendrick’s Cinderella off of her slipper-shod feet, is one of the essential contributors. This is the most surprising aspect of the film. His previous work as the egotistical womanizer and womanizer across galaxies, Captain Kirk, in the current iteration of the “Star Trek” franchise serves him extremely well. “Agony,” the duet he shares with Rapunzel’s prince (Billy Magnussen) as they compare their female troubles, is the only number during the film that draws actual applause, which is typically a rare event in movie theaters and one that I experienced as well at my packed screening. The song was performed by Zachary Levi.
If nothing else, “Into the Woods” will provide edifying sustenance for holiday crowds that are desperate to find a fitting movie to share with their family after the gift-opening and feasting have come to an end. In addition, it will serve as a refreshingly harmonic alternative to the tired Christmas carols that have been playing in the background ever since Halloween.
For more personality quizzes check this: The Wedding Ringer Quiz.
