Parked Review
Review“They will say that I have shed innocent blood. What's blood for, if not for shedding? “ – Candyman.In the 1980s we had Jason, Michael, and Freddie, in 1992 Bernard Rose attempted to add another icon to horror’s pantheon with the urban-based Candyman. In part he succeeded, basing a movie on the fevered imagination of Britain’s Clive Barker. The movie transports Barker’s English based protagonist from the excellent short story “The Forbidden" to the slums of Chicago and loses some of Barker’s powered prose in doing so. Barker did of course also give horror the nightmarish Hellraiser, and one hell of a good collection of short stories to be going on with, see “Books of Blood”. Candyman neither quite reached the levels of awareness that his 1980s brethren achieved, but still managed to become a cult movie with a lot of admirers. The movie end of day is neither as good as some people claim, or as bad as the mainstream seem to think it is. Let’s break it down. Helen Lyle and Bernadette Walsh are a couple of post grad students working on a thesis about urban legends. During their research they uncover the myth of the “Candyman”, some black dude who had his hand sawed off with a rusty blade, and suffered death via bee stings due to bonking the white woman. Naturally Helen, being an educated white woman herself, doesn’t believe this but is intrigued about the local project and it’s denizens having a deep believe that Candyman is behind a series of gruesome murders. She learns that if you say “Candyman” five times in front of a mirror then the big bad will show up with wicked fashion sense and a hook. Guess this is a horror flick, so no prizes for guessing Helen’s course of action. Our feisty heroine goes on to discover that some urban legends aren’t so mythical after all, and that her husband is an out and out bastard. A tension fueled sub plotted movie tries for classic status and almost gets there. Ready to step in front of the mirror? Working against Candyman is the multi-textured sub plotting that alienated horror’s by then largely teen male audience. Teens didn’t dig this movie, older fans did as horror returned to the themes and taboos exposed in the second golden era of the 1970s. For those that don’t think horror has something to say, drop this disc in the player and get ready to be converted. Director/Writer Rose is up front and in your face with urban alienation, racism, and the female role in the 1990s. Lead character Helen, surprisingly a female is the focus here, exists in the cultured and non-money challenged white suburban world. She lives with her husband in an up market apartment, her life revolves around academia, and she comes off as slightly smug as the movie starts weaving it’s magic. Helen’s major challenge is her colleagues at the University, note males are the sole power base there, and Rose hints that her work is seen as something unworthy. The subject was covered a decade prior by an obnoxious lecturer. An early fracture in Helen’s closet world is the notion that her husband may be taking undue interest in a female student, and to make matters worse has started to lecture on urban legends, something he had promised not to do prior to Helen and Bernadette publishing their thesis. By end of movie those fractures will be opened to major chasms as it all goes downhill very quickly for our lead character. Rose’s other major subplot revolves around the plight of poor urban Black folk. Close to where Helen lives in the urban eyesore of Cabrini Green, a slum project area festooned with gang bangers and graffiti. In a move to delight Rose introduces the notion that Cabrini Green is the mirror opposite of Helen’s tranquil and very nice apartment block, let down by the urban disposed and down trodden. Rose shows white women can’t jump either, as Helen becomes the victim of almost a brooding racial tension and finds her safety is not guaranteed due to her being white. Notably Helen’s friend Bernadette is black and while being slightly flighty is well aware that rich people don’t go into the projects, regardless of race. Double edged sword there, and Rose nails the concept in some pretty tension laden scenes. Okay before we turn this review into our very own University thesis lets have a look at the movie’s technical aspects. Behind the camera Rose is outstanding with his visuals. A lead in scene, which is an overhead pan of the city, isn’t wasted as the Director goes full tilt with the style. We get slow motion, fast motion, shot gun scene transitions where required, and full use of track and crane cam. At no stage does the movie lag and it keeps coming at you with a rising level of risk taking. Add in the sets, wonderful use of the Cabrini Green artwork, and you have a pretty complete movie. Rose is on with his scare tactics though I deducted a rating point due to some weaknesses with this aspect of Candyman. There’s a few too many sudden shock scenes, though thankfully no spring loaded cats jumping into frame, which detract from the tension Rose is trying for. If you are going to make a core horror movie, then leave out the sudden jolts, it disrupts the flow of things and lets the audience off lightly. Rose also dropped the "is he real or not" aspect of the movie far to quickly, a better Director would have based the flick around the notion that this just might be all in Helen’s mind. Rose goes there but in unconvincing fashion. I will leave it to the individual reader to make a call on the final scene. I’m pretty 50/50 about it, nice touch, but not entirely sure if it was necessary. There’s a nice reincarnation vibe going down, as we find out exactly what Candyman’s sweets to the sweet means. Rose once again simply nods at the idea and leaves the audience to pick up on it. In terms of gore, yes there is some but not to the level of modern gorenography. Rose cuts, no pun intended, away from the gruesome but throws the claret on the screen with the aftermath. If not comfortable with this aspect of horror movies then go check out something else. Virginia Madsen (Helen) nails her role and had me on side pretty quickly. Madsen can emot, handles all the required physical aspects of her role, and is a delight to watch. Opposite Tony Todd (Candyman) was charming as the thing of nightmares and that deep voice works a treat as Todd puts in a pretty menacing performance. Xander Berkeley (Trevor) was brilliant as the cheating and ultimately ineffective husband. Berkeley also nails his character, and brought across the notion that Trevor was out of his depth with anything outside his environment. Kasi Lemmons (Bernadette) came across as natural and I guess that means she was delivering the bacon. T&A is by and largely spoilt by the Candyman making inopportune appearances, I’ll call his name five times and then we can both kick his butt. Guys get a bra shot, Madsen showing off the gals twice, and Anne-Marie McCoy proving either gravity or silicon science is enough on it’s own with out additional support. The Ladies get Candyman’s hook. Phillip Glass presented an outstanding score that underlined Rose’s visuals. Haunting and eerie was my take on it. Glass mixes it up from single note piano to choir as required and aided Rose in capturing the threatening mood of the movie. Candyman certainly floated my boat, it had a lot to say, layered on the atmosphere, and got to where it was headed without relying on trite plot devices. Unusually for a horror movie Candyman manages to present a sympathetic antagonist matched off against a likable protagonist, and is stronger for that aspect. Sure there’s a couple of weaknesses inherent in what Director/Writer Rose is trying to achieve, but end of day Rose has made a much stronger movie than 90% of the modern PG13th orientated rubbish masquerading as horror outings. Candyman is classic horror and deserves it’s cult status. The movie generated two sequels, Candyman: Farewell to the Flesh (1995) and Candyman: Day of the Dead (1999). Rumor has it that Clive Barker was less than impressed with the two subsequent movies and is trying to get a fourth movie underway; we’ll keep you up to date if anything eventuates there. Tony Todd reprises his role in both movies, so that’s something at least to look forward to. Candyman made slightly under $26 million at the North American box office, and pretty much sunk without trace anywhere else, with most markets going straight to tape. The movie is now widely available on a touched up DVD format and should set you back sub $10. I watched the region 4 Umbrella release, and was somewhat disappointed with the normal lack of extras we get in this Country. Full recommendation on this movie to those of you who like their horror serious and different. Candyman has a couple of interesting angles, female lead and black antagonist, and will have you wondering whether turning on the lights might not be such a bad idea. For best viewing pleasure slip the disc on after midnight, and when the end credits roll say “Candyman” five times in front of a mirror. Hey it’s all urban legend, let’s see if you can get passed saying the name four times.
ScaryMinds Rates this movie as ... Excellent urban revenant fable with bite.
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