Scissorhands is Burton’s haunting fable about a lonely, misunderstood soul (and I don’t mean Burton who, lack of scissorhands notwithstanding, resembles the titular character), who is thrust into a life that he wasn’t intended to be a part of.

When Peg the Avon Lady (sweetly played by Diane Wiest) spots the old neighborhood castle up on the hill (and what neighborhood doesn’t have one?), she figures it may be the last place she can find a customer. Upon entering the seemingly abandoned residence, save for the well-manicured lawn, she encounters our (anti) hero, Edward (Johnny Depp). Realizing he needs a good meal and some makeup foundation, she takes him home, a testament to her good-hearted nature. Living in a 1950s-like pastel housed neighborhood (which Burton paid residents to paint), Peg knew that soon the gossip about her new houseguest would permeate the town faster than bad taste. When the neighbors hear of Edward, they quickly surround the poor lad with their shallow selves. Edward becomes a local celebrity both for his uniqueness (read: freak) and for his styling ability for not only pets and human hair but with lawns.

Kim (Winona Ryder) is the young innocent teenage daughter who is put-off a little by Edward at first, then sees him as a nice person despite the hatred her boyfriend Jim (Anthony Michael Hall) displays for him. The often unsung comic genius of Alan Arkin (The In-Laws, Glengarry Glen Ross) is in full, dry, display here as the man of the house. His delivery is priceless and subtle, always with the straightest of faces. "You can’t buy the necessities of life with cookies," he tells Kim upon hearing that Edward is not charging for his cutting services but rather accepting others forms of payment, like cookies.

Between Jim’s plan to get Edward into trouble and some of the townspeople change of heart about him, the film begins to get very dark in its final act. The tender interactions between Kim and Edward increase as the reality sets in about the fates of all concerned. One touching moment comes when Kim approaches Edward. "Hold me," she asks. "I can’t," he says after pausing, realizing the weapons that are part of his body.

Burton sets the film up to work with different subtexts and genres all meshing together. There are shades of doomed-love tragedies, fish-out-of-water comedies and social-satire comedies all mixed in to produce a unique film that is still as powerful today as it was ten years ago. The visual flares that make a Tim Burton film a Tim Burton film are here in full display, from the sparse interior sets of these houses to their horrendous bygone era’s paint job to the cookie-cutter feel to so many of the people and their lives. What adds the icing to the spider-egg filled cake is the beautiful and haunting score from modern cinema’s best composer, Danny Elfman, (who has scored all of Burton’s films except Ed Wood). I would also be remiss if I didn’t mention the wonderful appearance by Burton’s idol Vincent Price, as a cookie-maker and Edwards ‘father.’ Price’s role breaks your heart and makes you wish he had more sweet roles like this that didn’t call for him to laugh "mmmhhooooummmhhahhaaahhaa"in nearly every film.

Last month’s DVD release of the film offers it up in fantastic look and sound (though the soundtrack comes in Dolby Surround and Dolby Digital 4.0, not 5.1 curiously.) There are some behind the sets looks and short documentaries, trailers, artwork and a commentary track by Burton and one by Elfman over an isolated music soundtrack.

There have been very few films in the past couple of decades that have fallen in the sort of category in which you could put Scissorhands. There haven’t been that many fables or fairy tales of merit although there is so much that can be mined from these genres. We need more Edwards, we need more Princess Brides, and we need them soon because if Battlefield Earth is the future of movies then I’m going to have to move to Antarctica!

Burton again constructs a touching story about loneliness and a desire to fit in where one doesn’t. Add to this great musical numbers that, while a little thin at times, are a joy to listen to and amazing animation techniques that bring these wonderful characters and sets to life.

This past week’s DVD release showcases a deleted scene, behind the scenes looks at the making of the film, character designs, animation tests, a Dolby Digital 5.1 soundtrack, commentary by Selick and as an added bonus that is worth the price of the DVD, Burton’s two animated short films that he made while employed as an animator at Disney: Frankenweenie and Vincent. The two films give Burton’s fans a greater insight into his mindset and talent as a macabre and gifted filmmaker.