One of the first images we are introduced to is a swirling, morose sky. The dark blue in the mix provides a kind of shadow for the lighter aqua blue. The moodiness that this creates makes the audience aware of the tone of the film and the backdrop together with the dark, black, shady-looking chimneys and rooftops give a distinct impression of the gloomy 19th century London setting. The sky almost has a supernatural or surreal feel: which is something that Tim Burton often incorporates; the mix of surrealism and fantasy into his work. The blue sky seems almost bright against the ever-dark buildings in the forefront of this shot, the only other colour being the red blood drops and the barber's pole. Also, a cold white is used for raindrops and for the font. A small amount of white is also in the sky; making it appear almost 3 dimensional in the cloud and providing a lighter contrast to the dark objects in the opening.
This is effective for use of colour in that it links well with the haunting music, and introduces the tone of the film; we are introduced to the blood-red, the significance of the rich colour and the dark colours. The viewer is submerged into this darker feeling film, the desaturated colour and the shades of colour helping to do so. The feel is created by the depth of the colour, the shadow and the black of the objects and the tonal sky collectively creating and showing a sombre, mysterious scene. A thick, repressive atmosphere is created, and pieces of the story are hinted at by the use of the blue and neutral colours. The tonality of the opening, the contrast between shadow and darkness with small amounts of white or gel coloured light even hints at the nature of the film; the goodness contrasting with the corruption.
There is a change from the desaturated dark blues and blacks in the opening sequence when the viewer is plunged into the bakehouse and the sewers; browns and stale yellows are introduced. For example, in the shot below, the meat of "unknown origin" is being squeezed out of Mrs Lovett's mincer. It is a rich Burgundy brown colour which shortly after this shot has blood dripping out of the strands. This links the idea of the human flesh being in the meat or pies. The use of brown here distinctly shows a change of setting: from the outside setting to the barber shop, down into the bakehouse. It shows the process well; some of the colours are brighter here, yet they have a sinister connotation. The heavy shadow around the meat strands seems to be enclosing or creeping in on the meat, perhaps showing that the dark nature of the murders is following through all of the sequence, all of the film, affecting all of the characters ( Mrs Lovett in that she is an accomplice, for example.)
The progression from the mincer and oven to the sewers shows another change of colour and use of light and shadow. Here the brown is used as a sort of highlighting tool; making the sewer seem partly rusty and dirty. The darker shadows contrasting with this. The viewer focuses on the rich red flowing through the sewer hole. The tinge of blue and white in the shot links to the previous colours used, and the use of the brown, white,blue and black tie together to create a realistic sewer setting. The emotional response to a shot such as the one below is a feeling of perhaps disgust, and realization of the intensity of the situation: the corruption and murder spreads throughout the whole of London, even into the sewers with the filth, grime and vermin. Once again the red is stark and bright against the other colours. There is another change or addition to the colour, when the flames from the oven are shown, bright yellow, orange and white light up the screen. This too is shocking and unexpected as you get into the dreary,desaturated world that Burton creates for you. This heightens the atmosphere and mood of curiosity and repulsion. Sewers are not usually desirable places, as they are seen to be dirty, housing waste, rats and disease; the effect of adding a victim's blood is startling and the red brings the sequence to life, or shows the loss of life.
This is effective for use of colour in that it links well with the haunting music, and introduces the tone of the film; we are introduced to the blood-red, the significance of the rich colour and the dark colours. The viewer is submerged into this darker feeling film, the desaturated colour and the shades of colour helping to do so. The feel is created by the depth of the colour, the shadow and the black of the objects and the tonal sky collectively creating and showing a sombre, mysterious scene. A thick, repressive atmosphere is created, and pieces of the story are hinted at by the use of the blue and neutral colours. The tonality of the opening, the contrast between shadow and darkness with small amounts of white or gel coloured light even hints at the nature of the film; the goodness contrasting with the corruption.
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| Note: red and white barber pole, blood drops, juxtaposition and contrast in light and shadow |
Tim Burton on the effect of the film being almost black and white, choosing to have some scenes desaturated and darker with the fantasy and flashback scenes in bright colour:
"Well, we did a lot of testing beforehand. ... We consciously didn't put a lot of color in the sets or the costumes ... just splashes of color when we felt it was necessary. It seemed appropriate to use color through the characters' eyes, in the sense of his flashbacks being more lurid (sort of the opposite of flashbacks which are usually more desaturated, we inverted that because it seemed more appropriate of the telling of the story ) and her fantasy of a wonderful life by the seaside more optimistic and romantic."
There is a change from the desaturated dark blues and blacks in the opening sequence when the viewer is plunged into the bakehouse and the sewers; browns and stale yellows are introduced. For example, in the shot below, the meat of "unknown origin" is being squeezed out of Mrs Lovett's mincer. It is a rich Burgundy brown colour which shortly after this shot has blood dripping out of the strands. This links the idea of the human flesh being in the meat or pies. The use of brown here distinctly shows a change of setting: from the outside setting to the barber shop, down into the bakehouse. It shows the process well; some of the colours are brighter here, yet they have a sinister connotation. The heavy shadow around the meat strands seems to be enclosing or creeping in on the meat, perhaps showing that the dark nature of the murders is following through all of the sequence, all of the film, affecting all of the characters ( Mrs Lovett in that she is an accomplice, for example.)
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| The "unknown origin" meat, note: the brown rusty colour, and heavy shadow surrounding the meat. |
The progression from the mincer and oven to the sewers shows another change of colour and use of light and shadow. Here the brown is used as a sort of highlighting tool; making the sewer seem partly rusty and dirty. The darker shadows contrasting with this. The viewer focuses on the rich red flowing through the sewer hole. The tinge of blue and white in the shot links to the previous colours used, and the use of the brown, white,blue and black tie together to create a realistic sewer setting. The emotional response to a shot such as the one below is a feeling of perhaps disgust, and realization of the intensity of the situation: the corruption and murder spreads throughout the whole of London, even into the sewers with the filth, grime and vermin. Once again the red is stark and bright against the other colours. There is another change or addition to the colour, when the flames from the oven are shown, bright yellow, orange and white light up the screen. This too is shocking and unexpected as you get into the dreary,desaturated world that Burton creates for you. This heightens the atmosphere and mood of curiosity and repulsion. Sewers are not usually desirable places, as they are seen to be dirty, housing waste, rats and disease; the effect of adding a victim's blood is startling and the red brings the sequence to life, or shows the loss of life.
Tim Burton's view on the use of colour:
Note: soft brown and blue tinge, dark shadow and bright blood.
"Yeah, red is a funny colour on film because it's the most volatile colour and it changes," he says. "We had probably 20 different shades that we were toying around with because we wanted to create a theatrical crimson."He wanted the effect to be dramatic, theatrical and shocking. The shade of red used for the blood creates a strong atmosphere and it is in a Burton-esque style, so as not to be of bad taste, but stylistically and artistically used for effect. Certain colours being accentuated ( the blood and the frills on Mrs Lovett's dress) helped to carry this atmosphere throughout the film. He has also said that they decided to use more blood to keep the film less graphic; sometimes if the blood or violence isn't shown there is a tendency for it to be more real and therefore with more gore and disturbing elements.
"we just decided to go for it in the spirit of those old melodramas."The palette in the film compares to other films of the horror genre in that many old horror films were actually in black and white. ( Burton loves old horror movies and so one could say has been partially influenced by them..) The introduction of blood, gore, the colour red and in some movies, monochromatic colour or darker colours relates in these ways to Burton's film, although the blood is more artificial and the focus is less on the gore or disgust that is created in many other Horror films.
Tim Burton often uses heavy shadows and careful use of light in his films, also a range of tonal shades within his colour palette. Often, there are greys, black, neutrals and significant choice of bright colours for effect. For example, in Sweeney, the artificial blood red, in Edward Scissorhands the blue/purple, white and grey in Edward's castle.
In the shots below we can see the blood and water gushing from the sewer and dispersing into the water, and out to sea. This is at the end of the opening sequence and is a strong image to finish with, before the film continues or introduces dialogue and characters.
Towards the end of the opening sequence the rich red mingles with the water in the sewer. This water is quite stylized as well, a brighter blue hue, which ties back to the first sight of the sky and the surreal feel of the film. When the two strong colours mix there is a symbolism and significance; the remains are being mixed into the sea and washed away, perhaps it could even be seen as part of Sweeney's goodness vanishing as each murder pushes him further into his obsession for revenge on account of the death of his wife, and further away from reality and humanity. The use of light, manipulation of shadow and significant and purposeful selection of colour is apparent throughout the opening sequence and throughout the entire film.
The target audience for Sweeney Todd is varied, in my opinion. Well, I love it, and I think my mum even enjoyed it :P ( minus the violence, perhaps! ) For Tim Burton lovers, of course, and those that enjoy musicals and horrors: but Sweeney is not conventionally either of those genres, there are elements of both, so I think anyone who can enjoy a stylistic and meticulously created film with surreal aspects and a unique storyline, capable of handling some blood and violence would enjoy Sweeney Todd.
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