With music and lyrics by Sondheim and book by frequent collaborator James Lapine, “Into the Woods” often is cited as an influence on such self-aware fractured fairy tales as DreamWork’s jokey “Shrek” (2001), Disney’s “Tangled” (2010) and ABC’s ongoing “Once Upon a Time”; nevertheless, the play’s sometimes literally thorny content proved resistant to movie-studio pruners for years.
We’ve become all too accustomed to fairy tales as mainstream Hollywood material—partly as a result of the old stories being re-ironized and re-booted by Shrek , which itself arguably took several lessons from Sondheim’s show.
Like previous fairy tale mash-ups such as Shrek, Into the Woods pulls together a collection of well-known storybook characters in an original storyline, this time centred around a baker (James Corden) and his wife (Emily Blunt), who are desperate to have a baby.
It's only funny because it's meta in that broad Shrek way.
About that tonal shift: The first half of the film is a giddy romp through the fairy-tale landscape, a knowing poke at tropes that, given the age of the original production, foretold such future mash-ups as "Shrek."
It is strange to watch a film like “Into the Woods” in a post-“Shrek” world.