Seeing the Trees

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Into_the_Woods_film_posterI first learned of Stephen Sondheim’s musical Into the Woods while liking in the woods of Wisconsin. I was teaching a summer term course of mature students, one of whom used one of the songs to illustrate the point he was making during a presentation. Of course I don’t remember what the point was, but I did remember the movie. Then along came Shrek and fractured fairy tales were back in business. Enchanted brought Disney into the act, and a number of self-aware takeoffs from the brothers Grimm have followed. I’d seen the film of the stage show of Into the Woods before, but it had been a while. Over the weekend we decided to watch the new Disney offering of the story and as we did a couple of familiar, if obscure, ancient mythological motifs came to mind.

Cinderella, as we all know, was sorely abused by her evil step-mother and step-sisters. She seeks solace at her mother’s grave, in the woods, of course, in the movie version. While there, singing somewhere between a lament and a prayer, her mother appears to her in the tree that grew from a branch she’d planted there many years before. It’s a musical number, of course, but my mind couldn’t help going back to Asherah. Asherah is considered by many (without good reason, and I should know) to be the goddess of the trees. Yes, this was a mortal, a dead mortal at that, who spoke from the tree but the way she was presented in the movie was distinctly divine. Indeed, there is similar iconography from ancient Egypt. It was almost enough to make me go back on my own evidence that Asherah wasn’t a tree goddess.

The giant’s wife poses a real threat in this film. Jack’s beanstalk and the effects resembled those of Jack the Giant Slayer, a movie that I only vaguely remember as being one of many I watched with bleary eyes on a transatlantic flight a few years back. Nevertheless, Mrs. Giant is here stomping about the village when Jack and the baker decide to take her out at the tar pit, with the help of Little Red Riding Hood and Cinderella. The preferred weapon is a sling. As the giantess is pelted with stones, she grows annoyed until Jack, in the perfect image of David, strikes the giant between the eyes, slaying her. We all know the fairy tale version ends with the beanstalk chopped down. We’ve entered a new world, however. A world where Bible and fairy tale are harder to distinguish. And not only that, but even fairy tales no longer have the canonical status they once held.

Hard to Digest

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Sweeny Todd has never been one of my favorite shows, but the dark humor and gratuitous bloodshed made it seem somehow appropriate as a November movie after a hurricane. I’m referring to the Tim Burton movie, of course, and as I watched it this time I noticed a few religious themes that I had overlooked in previous viewings. The story is not complex: a barber is robbed of his young wife by a powerful establishment cad and determines that the time has come to exact his revenge. Along the way he rents a room from the hapless pie-maker Mrs. Lovett on Fleet Street and puts his murderous revenge to work supplying her with meat for her pies. The song where they hatch their nefarious plot, “A Little Priest,” is filled with innuendo and even a little social commentary. As the schemers look out at the crowds of London, several of their potential victims are mentioned as clergy.

When Todd asks Lovett if the priest is good she replies, “too good at least,” noting that its only fat where it sat. “Not as hearty as bishop,” nor “as bland as curate,” Todd observes. Mistaking a grocer for a vicar because it’s “thicker,” the duet eventually warble that the friar’s drier, but overall the clergy are “too coarse and too mealy.” Stephen Sondheim and Hugh Wheeler are not theologians, naturally, but it is noteworthy that the only role the clergy play in this film/musical, which is ultimately about social justice, is as fatty meat. When Benjamin Barker is wronged, the clergy are never mentioned as recourse or balance to a corrupt official. The church is simply establishment, a comfortable and expected part of the environment.

Johnny Depp portrays a mostly believable sociopath, interestingly reversing his first big screen role in Nightmare on Elm Street where he is the victim of a psychopath with razors for fingers. Edward Scissorhands, another step on the evolution from victim to perpetrator, found Depp with blades for fingers. In Sweeny Todd he declares with a straight razor held aloft, “at last my arm’s complete again!” The pattern here is a sad but familiar one. The victim who finds no redress in society adopts the role of the vigilante or the perpetuator of victimization. Who might step in to interrupt this cycle if not the clergy? But to return to “A Little Priest”: Todd observes that what the world terms business as usual is really one man eating another (this is, after all, patriarchal Victorian London). This may be the piece that at last makes sense of the puzzle. What is truly diabolical is not one man’s revenge, but the system that insists all play by the rules of genteel cannibalism while persistently calling it civilization.