INTO THE WOODS

Normal 0 false false false MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} Loyalty. It's a quality much to be desired, in how we treat our loved ones, the way we deal with our co-workers, in how those entrusted with the public welfare respect their responsibilities (we're looking at you, Congress). And there's a lot to be said for loyalty when it comes to adapting a film from another source, be it a novel, a play, or a musical. But it can be impediment as well, especially when loyalty to the original material gets in the way of letting a filmmaker do what the medium is best suited for. All told, Rob Marshall's adaptation of the Stephen Sondheim's INTO THE WOODS, is a beautiful, smart, and engaging experience, occasionally marred by a decision to adhere to what played on stage as opposed to what might work on-screen. I explore the issue in my review for Jim Freund's HOUR OF THE WOLF. Click on the player to here the segment, or right-click the link to download.