Review of Into the Woods (2014) by Blake P — 12 Apr 2015

I'm a sucker for a good Hollywood musical. Cynical as I am, there is something unavoidably mystifying about a character, depressed or not, bursting into song like it's nobody's business. Some I can't handle - "Les Miserables" looks less than appealing and "Mamma Mia" is a show too sing-a-longy for its own good - but the musical, despite having been turned into an "event movie" these days rather than a norm, always brings something special to the table that other genres simply cannot. "A Woman Under the Influence" might happen to you, but there's no way that your life could turn into a reflection of "Singin' in the Rain". We got to a musical film to absorb the joys of song and dance, two things we can hardly experience in the tough 'hoods of da real world.

As big, long, and exhausting as it can sometimes be, "Into the Woods" is one of the best examples of a Hollywood musical gone right in recent memory. Adapting the legendary stage play (written by James Lapine and scored by Stephen Sondheim) is no easy feat - Sondheim's lyrics are so, so complex and specific and Lapine's story is truly epic - yet somehow "Into the Woods" takes our doubts and seduces them all away. As someone with no knowledge of the original play, besides the understanding that it's a big deal and fans were simultaneously panicked and excited when it was announced it was becoming a movie, I can say that, as a film, it's something of a wonder.

When we hear of a movie being "large" these days, there's a tendency to imagine a superhero action flick or some post-apocalyptic chase film. So when a movie as old-fashioned (ignore the CGI and overall "modern" look) as "Into the Woods" comes along, where its biggest assets are songs instead of suspenseful battles, it's impossible not to be impressed than it is so universally likable. I don't mean universally likable like grizzled bikers or 99-year-olds will have a good time seeing it; I mean universally likable like the naysayers, the doubters, and the fanatics will find something to like. As some who enjoys musicals but not too much singing (sue me), I was surprised to find myself pleased by the film, even though songs come by with the frequency of a new Kevin Hart showcase. It is characterized not just by its music but also by its humor, its awesome cast, and its overall magical touch.

You could say the storyline has the effortless messiness of a Robert Altman film - so many characters, so many motives, so little time. At the front and center are The Baker (James Corden) and his wife (Emily Blunt), who live in poverty and are living unhappily ever after. Why? The Baker's Wife cannot bear a child. This isn't due to bad genetics though: it seems a vengeful witch (Meryl Streep) has placed a reproductive curse on The Baker, whose father robbed her of her earthy goods back in the day. The Baker and his wife, however, are not the kind of people that hear this and cry rivers of sorrow, backing away - they instead take The Witch's offer to bring them their deserved fertility. They must embark on a quest, the deadline in three midnights, to find a blood red cape, a lock of silky blonde hair, a milky white cow, and a golden shoe. Bring all these things to The Witch, and they will get the baby they've always wanted.

As you may have guessed, these items lead to other fairy tale staples, like Little Red Riding Wood (Lilla Crawford), Rapunzel (Mackenzie Mauzy), a pre-beanstalk Jack (Daniel Huttlestone), and Cinderella (Anna Kendrick), not just surface-level, but emotionally. Red is a feisty girl as quick to snarl as she is to pout; Rapunzel is mad at her mother (The Witch) for locking her away in a tower while her Prince awaits (Billy Magnussen); Jack, after he climbs his infamous beanstalk, angers the giants in the sky, who want violent retaliation; and Cinderella isn't so sure about royalty and isn't so sure that Prince Charming (Chris Pine) is the man for her.

"Into the Woods" is absolutely irresistible during its first act, filling itself to the brim with involving characters, biting humor, and impressively performed songs. But once the happily ever after (?) of those first 75 minutes are over, the film takes a turn into darker territory, where happiness doesn't last forever and harsh realities come to light. This is probably the biggest issue with both the film and the play - the second act feels like a blackened sequel or an attempt to extend the length of the story - but where most have found this to be a fatal flaw, I find it fitting. Sure, I would have preferred "Into the Woods" to be shorter, but as the plot dives into the shadows, the charm of the film hardly goes down with it. Fact is, this is a great movie, a star-studded event that welcomes you into its world and remains a hospitable host.

I should mention the cast before I close the review; it's a rare occasion to find Meryl Streep, Emily Blunt, Anna Kendrick, Chris Pine, Johnny Depp, Tracey Ullman, and Christine Baranski all in one film. Every actor is exceptional, particular Streep, Blunt, Corden, and newcomers Lilla Crawford and Daniel Huttlestone, who carry the film with infectious ferocity. In a film like this, an ensemble is vital, and "Into the Woods" is lucky to have one that is game and then some.

I don't know if the film will end up being watched over and over again by your musical obsessed cousin in the same way "Mamma Mia" was, but if "Into the Woods" isn't consistently a fluffball then consider it a masterwork in moviemaking (filmmaking is a whole different ballpark). It's grand. It's epic. It's game-changing. The director who made "Chicago" cool again (Rob Marshall) has outdone himself, and so have his actors.