对于许多人来说，带来Into the Woodsfrom stage to screen was something they never wanted to see attempted; and yet, the material just seemed too perfect for cinema to resist. WhenInto the Woodswas announced, there was a sense of dread amongst fans, along with the excitement. Was it really a good idea to change Jack’s age? Was Meryl Streep a good casting choice, after missing the mark with the music inMamma Mia？迪士尼电影真的会保持狼的黑暗氛围吗？
好消息是，迪士尼的Into the Woodsis an excellent translation of the material, and retains most of the musical’s key elements. It is certainly Rob Marshall’s comeback after some disappointing adaptations with艺妓回忆录和九, neither film worthy of a director responsible for popularizing the modern film musical. Marshall seems to understand and delight in fairytale material, maintaining the dark humor which madeInto the Woodssuch hit with audiences when it first arrived on stage, and Marshall really embraces the opportunity to do something visually unique without ignoring the story’s theatrical roots. There is no attempt to root the film or performances in realism, and film is all the better for it. It creates the world ofInto the Woods快速，确定地，从头到尾保持一致性。
In case you don’t know the story ofInto the Woods，这是对经典童话的黑暗重述，包括杰克和豆豆，小红帽，灰姑娘和长发公主。然而，主要故事是面包师和他的妻子，他们被女巫诅咒没有孩子，除非他们扭转父亲的诅咒。必须收集五件事，这使面包师和他的妻子与我们的其他童话团伙接触。The connecting stories all work remarkably well in the film as they did on stage, although the second half is far more rushed than the first – a common problem because most musicals’ first and second act are essentially two different stories (and could have easily provided Disney with a logical sequel).
但是,Into the Woodsworks, and the characters, beloved for so long, are brought to life beautifully with honor to the original play, without being too faithful to the stage interpretations. It is perhaps no surprise that Streep and Emily Blunt are great here; Blunt continues to be one of the most consistent and versatile actresses of her time, and despite never even being given a name of her own, is the heart and soul of the film, while Streep erases memories ofMamma Mia在多个演出者中进行复仇，获得了她的年度提名。安娜·肯德里克（Anna Kendrick），我们都知道可以从中唱歌Pitch Perfect,is excellent as Cinderella – although both her and Mackenzie Mauzy’s Rapunzel are given less character development in order to make time for their musical performances (and one can imagine Christine Baranski, Tammy Blanchard, and Lucy Punch will be featured in some deleted scenes as Cinderella’s stepfamily).
Daniel Huttlestone and Lilla Crawford, the two stage musical performers in the cast, are fantastic additions; Huttlestone’s new, younger interpretation of Jack is a smart change to the character, making him naive rather than “simple.” Johnny Depp’s cameo as the Wolf is blissfully brief, and far better than the other two cameos he’s had this year, retaining the Wolf’s dark, predatory feel. But the biggest surprise in the film is undeniably our Prince Charming, played by Chris Pine, who has officially won me over this year (despite really disliking some of his earlier roles). He is absolutely hilarious as Charming, especially in his riotous performance of “Agony,” with Billy Magnussen as Rapunzel’s Prince.
不幸的是，由于时间和太多的情节，公主的故事情节似乎已经牺牲了，因此既欠发达又突然结束。但是，由于角色在电影中的编织和外面编织的方式，因此不可能完全削减她，而Magnussen和Mauzy在有限的屏幕时间内都非常好。可悲的是，下半年的高潮没有得到应有的呼吸室 - 但这再次是音乐界狂野野兽的本质，即使这次奔波也从来没有脱轨。
Marshall’s production quality is really remarkable, from costumes and make-up to special effects, which really gives a sense of this land being a tangible place. These don’t just feel like sets and actors, but a world full of living, breathing characters. The waterfall on which the princes sit adds a grandness to their performances which is completely different, but just as effective, as when those characters perform at the back of the theater on stage. Yes, there are a number of special effects, but they all seem to exist within the world of the film, which is more than can be said about a lot of fantasy films we’ve seen lately. And Marshall embraces technology只要when in service to his vision for the material, thankfully finding the perfect balance of inventiveness and restraint.
从音乐上讲，这部电影在所有圆柱体上发射。它说，我可以想象这些演员中的任何一个都扮演着同样的角色并做得很好。没有明星无法提供强大的音乐表演。分数很熟悉，但仍然受益于一些微妙的新安排，声音混合将声音与编排的声音完美地融合在一起。就我个人而言，我不喜欢“现场唱歌”Les MisérableS，因为将舞台音乐剧改编成电影的好处之一就是能够在受控环境中录制音乐。罗布·马歇尔（Rob Marshall）和声音部门在这里做到了这一点，并且在屏幕上非常同步（表演非常好），以至于您很快就忘记了它不是“ Live”。
It was a wise decision to keep original book writer James Lapine on to write the screenplay, but it should also be noted that Stephen Sondheim has a pretty good track record for having his musicals brought to the screen.西侧的故事，吉普赛人，斯威尼·托德, and now走进树林所有人都保留了百老汇音乐剧的流行，同时找到了使它们创造电影的创造性方式，而他的成功（他最受欢迎的作品）使我希望有一天我们能看到他更不寻常的戏剧带来了屏幕。
莱斯利·棺材（Lesley Coffin）是中西部的纽约移植。她是纽约的作家/播客编辑Filmoria和电影撰稿人Interobang. When not doing that, she’s writing books on classic Hollywood, includingLew Ayres：好莱坞的良心反对者和her new book希区柯克的明星：阿尔弗雷德·希区柯克和好莱坞工作室系统.
你在跟随玛丽·苏（Mary Sue）推特,Facebook,Tumblr,Pinterest, &Google +？
有我们应该知道的提示吗？[电子邮件保护]