EEven if you haven’t seen it Candyman, You knew you wouldn’t say his name five times. In 1992, Bernard Rose’s fascinating horror masterpiece influenced the collective trauma of bees, mirrors, and the unforgettable piano works of composer Philip Glass. According to the movie, Candyman should be summoned at his own risk. The message flows from the cinema to the playgrounds of the world and cannot actually be seen among young children. A towering, tortured, erotic ghost, with a hand hook, Candyman appears in the mirror and kills you if you say his name five times in a row. Almost thirty years later, Candyman is back in case you might have forgotten him.
New in the hands of filmmaker Nia DaCosta Candyman – A direct sequel to the 1992 film – enriches the themes stuck under the original surface. It reveals some of the awkward logic of Rose’s work and reconstructs Candyman himself not only as a terrifying figure in modern folklore, but also as an embodiment of decades of generational trauma.
Oscar winner Jordan Peele (Get out) And producer Win Rosenfeld knew that continuing Candyman’s story would be a very difficult task, especially when the original film sneaked well under our skin. But then she wondered why it affected so many people. “When I think of the horror films I grew up in, they were mostly done in the suburbs,” she recalls. “I’m thinking of a movie like this Halloween, It usually dealt with relentless serial killers, or the boredom of the suburbs. It was something I couldn’t understand as a person living in a huge city. Candyman I felt like I was approaching my house. “
Like the sprawl phenomenon in other cities, both films feel busy but oppressively isolated.rose’s Candyman, A young graduate student (Virginia Madsen) investigates the story of Hook Hand Killer (Tony Todd) slaughtering residents of the Cabrini-Green Housing Project in Chicago. The skyscrapers around the luxury condominiums are a living monument to violence and racial inequality.
In the sequel, the Cabrini Green was demolished and replaced by a further parade of expensive homes, and the blocked artist Anthony (the ridiculously charismatic Yahya Abdul Matine II) has its tragic history and the legend of Candyman. Choose both as his latest inspiration. Soon he discovers a calm connection between his own upbringing and Cabrini-Green’s violent past. All the while, I’ve been around a new murder.
Da Costa’s direction is elegant and ambitious.Since Natalie Portman pulled the cuticle, there are some of the most horrifying acts of shadow play, dramatic crane shots, and body horror in the movie. Black swan.. But what is difficult to clarify is the disturbing threat of the film. Everything, from the shape of shadows that may not be there, to the human body, which is too slow to move and is unusual, has fantastic anxiety.
It is British actor Nathan Stewart Jarrett who provides lightness in fear. Nonconformity When American angels Fame-A man who steals the scene as Troy, the witty brother of Anthony’s girlfriend Brianna (Teyonah Parris). Original, like DaCosta Candyman As a kid, he left a remarkable impression on him. Unlike DaCosta, those feelings still remain. He didn’t even mention the name “Candyman” during the movie rehearsal.
“I said, of course, when the camera is spinning, but I’ll skip it now,” he remembers. “I ring it myself.” He jokes that the number of times I say his name when asking him is a little offensive. “You are now running very close to 5!” He howls. “I don’t tinker with it! Why do you do it? If nothing happens, [shrugs], But if something happens, you’ll be: why did I say it 5 times? “
Stewart-Jarrett calls Troy “the smartest person in the room”, or someone who quickly recognizes that he’s stuck in a horror movie. But he is not alone.Throughout Candyman, Black characters express rationality, keep themselves safe, and refuse to interfere with the dangerous forces that white and destined opponents take for granted.In that sense, this movie reminded me of the Wes Craven scene. Scream 2: When I see white bodies piled up around him, a black cameraman, played by actor Duane Martin, calls a taxi, escapes hell from the town, and is never seen again.So when Da Costa tells me that scream It’s one of her favorite movies, but of course.
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“There are so many black characters in my movie.” No, thank you. You don’t have to bring darkness into my life anymore. It’s enough to deal with in the real world, “she says. “And that’s also the phrase: Blacks never go into haunted houses, camp in haunted houses, or listen to mysterious sounds, so they never appear in horror movies.” No, it’s not for me – goodbye! ”But he also admitted that the blacks were aware of how scary the world was in a very special way. It has been said from an early age to help us survive. “
That consciousness obscures some of Rose’s previous visionary rifts. His film is a rough adaptation of Clive Barker’s short story, a gesture towards the legacy of racism, inequality and trauma. It’s mostly a mood piece, but it’s erotic, scary and captivating, but it’s also spoken of from the limited perspective of a white character that pervades a world other than herself. It’s a creative choice that Todd comes at the expense of Candyman himself, who injects a surprisingly fascinating threat, but the motive is … a little wacky.
Originally alive in the 1800s, Rose’s Candyman was a black painter. When he fell in love with the White Debutante and soaked it in, the rise in the higher society stopped. He was killed by a racist. The racist cut off his hand, beat him with honey and left him for the bees. Since then, his spirit has plagued Cabrini-Green, but the motive for his murder is unclear throughout the film.
If he is a symbol of racism and the evil of white supremacy, why does he terrorize modern blacks? And is his effort to transform Madsen’s character into a form of folk horror as well, a kind of revenge plan, or does he want her as his bride? There is no clarity. Stories are sometimes half-told or clever when you need to be brave.
The DaCosta sequel completely dismantles Candyman’s origins and delves into what Candyman represents, who is killing, and what he wants. In DaCosta’s films, Candyman isn’t as human as his pedigree. He and Candyman like him are a tragic product of American racism and disbelief, a violence that gives them a radical form of justice.
“Near, who directs the film, really changes the source of the horror,” says Stewart Jarrett. “It is no longer the fear of the’other’. And that means a kind of fear is deeper. When it comes to nuances, it’s back to who drives the story and who is responsible for it.Candyman was “the other” [the first film].. It’s very different now. In our movie he is definitely an antihero. He exists in another way. He is not a strange and shadowy monster of any kind. He is actually this very tragic man. “
Tragic, yes, but still scary.
“Candyman” is currently in the cinema