Into the Woods

Ever since the stage musical Into the Woods premiered on Broadway back in 1987, it seemed like a natural candidate for a film adaptation, with its crisscrossing storylines, fairy tale characters, elements of magic and human drama, as well as a wonderful music score by the legendary Stephen Sondheim.  Indeed, Hollywood has been trying to get a film adaptation off the ground for around 20 years or so.  One film that almost got made in the early 90s was to star Robin Williams and Billy Crystal in lead roles.  However, for one reason or another, film projects would always fall apart.

In a way, I would not want to wish the task on anyone of adapting the musical to the screen.  The stage version is deeply loved by its fans (myself included), and any attempt to bring it to film would always be met with scrutiny and hesitation.  After all, Into the Woods is ultimately a complex work, mixing childhood wonder and magic, a smart sense of humor, a growing sense of dread that only gets deeper as the story goes on, and even some tragedy.  When it was announced that the Disney Studio would be producing the film, there were fears that some of the show's darker and more adult elements would be whitewashed over.  Furthermore, when it was announced that Rob Marshall would be directing the film, fans became even more divided.  Yes, his adaptation of the musical Chicago won Best Picture at the Oscars back in 2002, but opinions by fans are widely mixed.  Then there was his failed attempt to bring the musical Nine to the screen, which is fresher in the minds of most theater fans, and the less said about that the better.

With all that out of the way, what is the film we have been given?  In the mind of this fan, at least, Rob Marshall has given us a largely successful attempt of translating the musical beyond its usual audience.  There has been a little sanding off of some of the show's darker edges, but not as much as initially feared.  The story's complexity has remained in tact, and most importantly, the songs have survived the transition thanks to a fantastic cast.  The film has also been successfully opened up beyond the confines of the stage play, creating a dark and whimsical fairly tale world that never quite looks real, but is imaginative enough in its set design that we fall under its spell and don't care that half the time, it looks like the actors are walking around an outdoor set.   The heart and ultimate message of the show, that there is no such thing as "happily ever after", is still there.  Whether it will be accepted by the usual Disney family audience looking for holiday entertainment is another question.

Just as on the stage, Into the Woods is a mixture of childhood myths and fables turned on its head, and then expanded into darker regions during the second half.  In the film's opening scene and musical number, we are introduced to our protagonists.  We find Cinderella (Anna Kendrick) dreaming of going to the 3-night ball being held by the Prince (Chris Pine, hilarious here), while being kept under the thumb of her stepmother (Christine Baranski).  A "carefree boy" named Jack (Daniel Huttlestone) is told by his mother (Tracey Ullman) to go into the village to sell their cow, neither one knowing that this simple journey will ultimately result in magic beans and beanstalks leading up the kingdom of the giants.   And a young girl in a red cape and hood (Lilla Crawford) is on her way to her grandmother's house, only to have an encounter with a devious Wolf (Johnny Depp).

Added to this cast of recognizable characters are two new creations - a Baker (James Corden) and his Wife (Emily Blunt), who wish to have a child, but have no idea that they are under a curse placed on them by the Witch (Meryl Streep) who just happens to live next door to them.  The Witch enters their shop to tell them how they can reverse the spell that was placed on their family years ago when the Baker's father stole some magic beans from the Witch's garden.  As the Baker and his Wife journey into the nearby enchanted woods to complete this mission before the next Blue Moon in just three days, they have run-ins with the various famous characters who are also in the woods for their own specific reasons.  The first half of the film is a very witty fairy tale mash up, as these two new characters often find themselves unwilling occupants in other famous stories. For example, we learn that it is the Baker who gives Jack the famous magic beans. 

This part of the film I have no problem picturing audiences accepting.  It's what screenwriter James Lapine (who wrote the original play with Sondheim) does around the 80 minute mark that might throw off those in the audience expecting another holiday Disney romp in the vein of Frozen.  We get what at first appears to be your typical happily ever after, but then something happens which I will not spoil for those not familiar with the material.  All I will say is that the characters are called back into the woods a second time, this time for a much more pressing matter than just getting their wish.  Also, not everyone will return from the woods.  This section of the story has long divided audiences, and I have a feeling the fact that this film is being released under the Disney banner and being marketed as a holiday film event, it will divide audiences even more than it did on the stage.  But it is this part of the story that holds the real heart, and the point that the writers are trying to take home to their audience. 

To be fair, one major element that was a key to this darker element of the story has been tarnished, in that a character who died in the stage play has their fate changed in the film.  This kind of lessens the impact of another character's motivation in the second half.  And yes, I apologize for being vague.  Such is the duty of a critic, to try not to reveal too much in advance.  That being said, those familiar with the source material will be glad to know that little has been changed outside of the aspect above.  The cast is up to the challenge, both in the performances, and in the songs which come equipped with those devilishly tricky lyrics that Sondheim is famous for.  That the film manages to be as funny, heartfelt, sad and beautiful as the original is no small feat, and should in fact be celebrated.

A musical making it to the big screen completely in tact is a rare thing, and while Into the Woods has gone through some damage in the process, it has lost none of its power or emotion.  While the idea of turning fairly tale characters and their stories upside down for comedic and dramatic effect is a lot more commonplace now than it was when the stage musical debuted 27 years ago, it has lost none of its effectiveness.  This is an enchanting film that is certain to create a lot of discussion during the drive home, especially for those experiencing it for the first time.  And hey, if it introduces some kids to the music of Sondheim, all the better.

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