Rob Marshall Brings 'Into the Woods' to the Big Screen

I've finally caught up with Rob Marshall's adaptation of "Into the Woods" after months of dying to see it. The hype from that DGA screening made the last month a little unbearable, but I'm here to report that it was well worth the wait.
For those of you who aren't familiar with the original Broadway play from Stephen Sondheim, the plot focuses on some beloved Brothers Grimm fairy tale characters. Cinderella (Anna Kendrick), Little Red Riding Hood (Lila Crawford) and Jack from Jack and the Beanstalk (Daniel Huttlestone) are joined by a Baker (James Corden) and his wife (Emily Blunt) trying to undo a curse of infertility laid upon them by a vindictive witch (Meryl Streep). The Witch sends the Baker and his wife into the woods to gather 4 items (Cinderella's golden slipper, Jack's cow, Little Red's cape and Rapunzel's hair) for a potion needed to restore her beauty, and in return she will undo the curse. Things get complicated, however, when each character finds their own personal happily ever afters, only to discover that it's not quite what they expected, nor what they truly wanted.

Into the Woods is very actor-driven, and has an ensemble to die for including veterans Tracey Ullman (Jack's Mother), Christine Baranski (Cinderella's step mother) and even Chris Pine as Cinderella's Prince. Marshall knows what he's working with, and opts to take a step back, letting the actors be the focus. His directorial choices are subtle, but very in tune with the music, almost moving with the piece. Unlike Tom Hooper's awkward choices in "Les Miserables" (those close-ups were so exhausting), Marshall moves quietly alongside the music, enough to make his presence known without it being overbearing. The best example of this is during Kendrick's big number, "On the Steps of the Palace", which Marshall chooses to shoot as if Cinderella is suspended in time making the decision to run or stay at the ball in the moment, rather than telling the story as if it happened in the past, like her Broadway incantation does.

And speaking of Kendrick, she's absolutely sublime giving the performance of her excitingly young career. Though she's not onscreen a whole lot (I suspect a lot of her storyline was cut in the stage-to-screen adaptation), she still finds a way to shine bright amongst a very big name cast. This comes as no surprise; she was nominated for a Tony at the age of 12. It's very clear that Kendrick is an avid musical actor. She finds the subtle humor and musical tragedy in Sondheim's Cinderella in a way many other actresses would have overlooked. It's a shame Streep nabbed the spot in Best Supporting Actress so early on (namely due to her name alone I suspect) because Kendrick would have made for a great nominee. Though Streep is great, she brings too much of a cinematic element to The Witch that makes her stand out like a sore thumb amongst the rest of the cast. Sure, moments like "Stay With Me" and "Last Midnight" are spectacular standing on their own, but Streep's performance could have benefitted from some of the subtle, stagey beats that benefit Kendrick's work when looking at the whole picture.

Surprisingly, Emily Blunt gives what may be her best (and my personal favorite) performance to date. Though it was shocking to learn she had such a beautiful voice, who knew she could perform so well in such a tricky musical? No matter who she's sharing a scene with, whether it be Kendrick, Streep, Corden or Pine, Blunt is constantly bringing something new about the character to the table; she's ambitious and strong, yet vulnerable at the same time. Not to mention, she mines some laughs out of lines that could have easily felt stiff if given by a less capable actor. In a weaker year, she'd be a lock for Best Actress. Pine also surprises as the narcissistic prince. With a scene or two more, he could have been a serious contender for Supporting Actor. "Agony" a duet between Pine and Billy Magnussen (who plays Rapunzel's Prince) is hysterical, highlighting Pine's comedic timing and his incredible vocal ability.

The film's wide scope in narrative is matched by it's gorgeously mounted production design and intricate costumes; you really feel the immense size of the woods, luring all of these characters in to get what it is they want. If the film has a flaw, it's the second act which was already divisive. It's meant to take down and critique the fairy tale structure we're all familiar with, turning it on its head and pointing out how ridiculous it all is. This portion is usually omitted from many versions of the show due to its tricky tone.

The pacing feels rushed, and the satirical barbs aren't as sharp as they needs to be, though if you pay close enough attention, you might just catch what the film is trying to say. This may be a fault of Disney, who clearly doesn't want to take down the very thing (Happily Every Afters) they're known for. But despite this glaring fault, the film still manages to play well, and tie things up nicely by the end. It was never going to be a perfect adaptation I guess. But does it need to be with performances like those of Kendrick, Blunt and Pine? Not to mention the handsome craftsmanship; I dare you to find me a more handsomely mounted film (that isn't "The Grand Budapest Hotel").

All in all, Into the Woods is the adaptation of the beloved musical we've all been waiting for, and while it's not flaw free, it certainly shows promise for more Hollywood musicals to hopefully come. It leaves a lot more to be desired than the "Les Miserables", and that alone is an achievement.

Grade: B

Oscar Chances: Streep is a lock, which is somewhat disappointing given the fact that it's not really necessary to reward her for simply being... mildly entertaining. Costumes are a definite, maybe production design? Expect below the belt nominations like Art Direction and maybe even makeup. I'd be shocked if it made it into the Picture category. Not saying it wouldn't be deserved, but I don't feel the enthusiasm for the film outside of Streep (and I don't feel a whole lot of enthusiasm for anyone in S. Actress besides Patricia Arquette). If it does well at the box office, that'll help. Maybe Pine for S. Actor given the weakness of that category? (probably not, but I can dream right?) Blunt and Kendrick will (undeservedly) be on the outside looking in.