Tim Burton’s Corpse Bride
“Tim Burton’s Corpse Bride” is one of the visionary director’s best films, and unquestionably his best love story. Inspired by a Russian folk legend and beautifully written for the screen by Caroline Thompson (“Edward Scissorhands”), Pamela Pettler, and John August (“Big Fish”), “Bride” tells the story of Victor Van Dort, a shy young man whose wealthy parents are arranging a marriage for him with Victoria, the daughter of two loveless aristocrats who are looking to regain some financial respectability. At the rehearsal, however, Victor cannot say his vows properly, prompting him to leave and walk in the woods. Out there, he rehearses his vows, and when he places the ring on what he thinks is a twig, he is surprised that it is actually the dead finger of Emily, a corpse in a wedding dress buried in the woods who- now that Victor has said his vows properly- now pronounces herself as his wife. Her taking of him to the Land of the Dead was certainly NOT the honeymoon he was expecting.
With the best of Burton (“Ed Wood,” “Edward Scissorhands,” “Big Fish,” “Sleepy Hollow”), I normally would say the less you know going in, the better. “Corpse Bride” is no different. However, to fully express the many pleasures contained in the film directed by Burton- returning to his roots as an ex-animator- and animator Mike Johnson, what would normally constitute as “spoilers” must be revealed, as they pertain to the film’s strongest element- its’ story. OK, the story isn’t the “strongest” part of “Bride” (that’s the visuals), but it is the most important to the film’s success. And so, if you wish to go into the film knowing as little as possible, stop reading now…or at least skip the next two paragraphs.
**Spoiler Warning**
The way Burton sets up the love is ingenious in its’ simplicity. That Victor- voiced with moving emotional complexity by Burton regular Johnny Depp- and Victoria- voiced by the lovely and affecting Emily Watson- have never met and are being forced into marriage appears to be a way of tipping the audience’s emotions over to Emily- touchingly voiced by Helena Bonham Carter, Burton’s wife- murdered on her wedding night by her husband, who was simply after her money. But they meet in a scene of beautiful feeling in her parent’s mansion’s enterance way, where a piano sits. Victor begins to play a piece of haunting sorrow and longing. Victoria hears him playing from her room, and comes downstairs. As they meet, Victor is clumsy and clearly flustered, overwhelmed by her beauty and touched by her confession- though they haven’t met- that her mother forbids her to play the piano. They love each other instantly, as Victoria conveys her ideas of her ideal wedding- they don’t match up with the union their parents have planned for them. So one gets the instant impression that Victor’s bumbling at the rehearsal- not tolerated by the pastor (the great and wonderful Christopher Lee) presiding over the event- is more out of nervous jitters to satisfy the woman he now loves than from satisfying their overbearing parents.
But just when you think Burton has set up Victoria as the clear choice for Victor, we learn Emily’s tragic tale in a song performed by Bonejangles (voiced w/ devious wit by Danny Elfman, who wrote the terrific score and unmemorable- but story-serving- songs for longtime collaborator and friend Burton) and his band. We also come to know Emily, who is eager to make Victor happy (she gives him his dead dog Scraps as a wedding present), and longing to have the marriage she’s wanted since her dream was snuffed out by greed. Victor sympathizes with her, and at a moment of revelation, is prepared to make a sacrifice that touches at the core of what love is. And we accept it because of who Victor- as performed by Depp- is; he cares for both Emily and Victoria when he comes to know them both, partially- I think- for who they are, partially because I think like them, he is a dreamer at heart, whom society has cast off as a misfit who doesn’t fit the mold. It’s a common theme in Burton’s work, especially with Depp (see my “Charlie and the Chocolate Factory” review), and once again, the two find imaginative new ways to explore it with sly wit and compassion. This is the type of collaborations I was expecting in “Charlie”; better late than never.
**End Spoilers**
“Bride” is the product of 10 years of work for Burton, and the follow-up animated feature to his beloved 1993 feature “The Nightmare Before Christmas” (though he did produced a similarly-animated version of “James and the Giant Peach” in 1996, most people will see more of a link and kinship between “Christmas” and “Bride”). Like that film- which gets better with multiple viewings (and contains Danny Elfman’s finest work for the director)- “Bride” is a workd of the now-rarified stop-motion animation medium, where puppets are created and moved- by hand- a little bit at a time for individual shots by real people which will- if done properly- represent fluid body movements when put together; it takes hours to get just single seconds worth of usable shots. It’s a painstaking process Burton employed on “Christmas,” “Peach,” and one of his early shorts (“Vincent”), but one that allows for singular beauty and grace onscreen. And though the visual style of the film- by production design Alex McDowell- is reminiscent of “Christmas” many times, the result in “Bride” feels full of vibrant, exciting life all its’ own. You’ve never seen a film quite like it, from Burton or anyone else. The colors in the Land of the Dead- and the lack thereof in the Land of the Living (in interesting twist from what a lesser filmmaker would do)- are evocatively seen through the cinematography of Pete Kozachik, and the cast of characters are designed with care and original style. Right now, my vote for the Best Animated Feature Oscar goes with Burton- who’s overdue for Academy recognition (as is Elfman)- and Johnson for their singular imagination and craft.
But if I’ve made “Corpse Bride” sound drab and depressing, I’ve done it a disservice- few films this year have been so joyful. Filled with rich images, delightful characters, wicked humor, lush music, and a story you’ll never regret giving over 77 minutes of your life over, “Tim Burton’s Corpse Bride” shows an artist at the top of his craft, bringing to life a story- so complete in its’ blending of visual fantasy and emotional reality- he’s been seemingly working towards his whole career. It was worth the wait.
