Last week, the student-organized Wicked Wednesday event showcased 1992’s “Candyman” at the Kenworthy Theatre. “Candyman” is oft credited for the rise of “black horror” because of the way its subtext addresses the themes of racism, gentrification and inner-city violence.
The film is highlighted by co-stars Tony Todd and Virginia Madsen, who both received heavy praise for their roles. Todd stars as “The Candyman”, a hook-handed menace that haunts the grounds of Chicago’s Cabrini-Green housing projects. Madsen takes on the role of Helen Lyle, a semiotics student at the University of Illinois preparing her thesis on urban legends.
The film begins with Helen and her partner for the thesis, Bernadette, conducting research about “The Candyman”, an urban legend that has ties to Cabrini-Green in Chicago. The legend tells the story of Daniel Robitaille, the educated son of a former slave whose artistic talents allow him to live with social status. After being commissioned to paint a portrait of an affluent white man’s daughter, Robitaille and the daughter fall in love. The father, upon learning of the affair, hires some men to kill Robitaille. They lead him to the grounds of Cabrini-Green, where they cut off his hand and bathe his body in honey and bees until he is stung to death. After his death, the men burn his body upon a large pyre and spread his ashes across the plot of land that would become Cabrini-Green. Robitaille’s spirit becomes “The Candyman”, who resides in Cabrini-Green and can be summoned by turning off all lights and saying “Candyman” five times into a mirror.
“The Candyman” is seen by Helen as a means the residents use to deal with violence and inequality, and his legend bears no fruit in reality. Helen and Bernadette jokingly say his name in the mirror with the lights off, but only Helen says it five times, which unknowingly invites him into her life.
Because of her lack of faith, Candyman wreaks rampage upon Helen’s life. He possesses her body and uses her to kill innocents and those closest to her. Helen’s first victim is a young mother that helps her with research. While she does not kill the mother, the possessed Helen breaks into the woman’s apartment in Cabrini-Green, kills her dog and kidnaps her infant son. Arrested for her crimes, Helen’s unfaithful husband bails her out and takes her home, even while the infant child she kidnapped is still missing. Visited by Bernadette at her apartment, Helen is possessed again and used by Candyman to kill Bernadette.
She is caught again and taken to a psychiatric hospital and held for evaluation. Candyman, who appears to Helen, kills one of the doctors and helps her escape. Candyman then offers Helen a deal, to join him as a supernatural being and he’ll free the kidnapped child. Helen agrees and finds the baby in the middle of a bonfire being set up by the Cabrini-Green residents. Helen climbs into the heap of garbage, and searches for the infant. While inside, the Cabrini-Green residents light the bonfire, trapping Helen, Candyman, and the infant inside. Candyman tries to keep Helen from escaping the fire, however she is able to fight him off and save the child, dying from burns in the process. Candyman also perishes in the fire, freeing the residents of his curse.
Helen’s funeral is held with a small service, with Helen’s husband and his mistress as the only attendees, or so they thought. At the end of the service, the residents of Cabrini-Green arrive to pay their respects. The mother of the, now safe, kidnapped infant drops Candyman’s hook into her grave, representing the defeat of Candyman.
Helen’s bereaved husband recites her name five times in the mirror out of grief, summoning the spirit of Helen who gets revenge for his infidelity by killing him.
With strong performances from Todd and Madsen the movie is well performed and takes itself seriously. The cinematography was done well, with the most notable shots being the high shots and aerial pans of Cabrini-Green. Todd’s voicework and acting are by far the highlight of the film. Thematically, the movie is strong, however many of the issues it attempts to tackle are hidden within the subtext and they are never truly called upon as the focal point of the story. Maden’s character could easily be seen as a “White Savior”, who feels called upon to save the helpless residents. However, context around the time of release is important. This movie, however you cut it, brings themes and voices to cinema that have been suppressed since its inception and kickstarted a growing cinematic movement. 1992’s “Candyman” is well worth your time, mixing important themes and solid horror.
Jack DeWitt can be reached at [email protected]