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Film
THE CANDYMAN CAN Nia DaCosta’s ‘Candyman’ brings new life to the horror story By Br yan VanC ampe n
W
hen you see a film, you don’t always know that it’s ahead of its time. That requires time passed and context. When I re-watched the original 1992 “Candyman” to get into the head space for Nia DaCosta’s new sequel, it struck me that here was a movie that used the horror genre to remind us that Black lives matter. Released in the wake of the Rodney King riots, “Candyman,” adapted and directed by Bernard Rose (“Immortal Beloved”) from a Clive Barker short story called “The Forbidden,” was a canny mix
of American Gothic, bodice ripper romantic fiction and perhaps the first mention of “urban legend.” Virginia Madsen played a Chicago grad student touring the notoriously dangerous Cabrini-Green projects to research her thesis on folklore, which draws her into the legend of the Candyman (Tony Todd). Todd’s character was a racially charged version of the innocent man cursed to live in infamy as the city’s scary legend, the man with a hook for a hand. Just look in the mirror and say his name — “Candyman” — five times.
