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The secret to "getting" Tim Burton's Sleepy Hollow is appreciating that it's the film he's wanted to make his whole life. After the intimately expressive Edward Scissorhands, this is his most personal venture. Burton's Gothic style--apparent through all his work--stems from a childhood misspent watching the horror movies of Roger Corman, Hammer studios, and anything featuring his idol Vincent Price. For Sleepy Hollow Burton surrounded himself with his usual collaborators and friends; the production was almost entirely shot on location outside London to reunite him with key members of the crew he'd used a decade earlier in Batman, and also to capture the atmosphere of Hammer horror on its own turf.

Johnny Depp's Constable Ichabod Crane warmly emulates the mannerisms and enunciation of Peter Cushing. In a prologue scene Burton plays out a long-held fantasy by pitting Depp against Christopher Lee. And it is fantasy that categorises the film throughout, from the mythical fireside telling of the Hessian Horseman's origin (a mesmerising Christopher Walken), to the bright spots of colour saturating Crane's childhood dreams (featuring Burton's real-life love Lisa Marie). These moments literally shine out amid a meticulously crafted look for the film, which underwent a bleaching process to tone things down to an almost monochrome hue. The Scooby Doo-like whodunnit plot, concerning family lineage and petty vengeance, is naturally secondary to what Burton is aiming to achieve through photography and performance, which includes expressive cameos from Michael Gambon, Michael Gough, Jeffrey Jones, and Iain McDiarmid. Yet despite all these subtleties, it's also his best action movie: the swordplay betters anything from his earlier work, while the windmill escape and subsequent coach chase is truly breathtaking in choreography and execution. If you find a cheesy grin on your face for most of the film, you've "got" it. If not, see Hammer's Dracula at once! --Paul Tonks

Release Date: Jul 24, 2000
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