Sequels, Spin-offs and Knock-offs

This chapter studies the sequels to Candyman (1992), Candyman: Farewell to the Flesh (1995) and Candyman: Day of the Dead (1999), in terms of what they add to the Candyman mythos. Each attempts to deliver more of the same but arguably without the level of intelligence and skill that Bernard Rose brought to the original. Bill Condon's Candyman: Farewell to the Flesh clarifies the origins of the Candyman, but also the miscegenation subtext of the first film is made more explicit. Released straight to DVD by Artisan Entertainment, Turi Meyer's Candyman: Day of the Dead is essentially a remake of the original film, with certain plot elements of Farewell to the Flesh thrown in to the mix. The chapter then considers the knock offs, looking at the various movies based on the legend of ‘Bloody Mary’, and the Urban Legend franchise, which includes the direct-to-DVD entry Urban Legends: Bloody Mary (2005). The continuing popularity of these films suggests that the urban myth and what it represents is still very much alive.

Candyman and the Return of the Repressed

This chapter presents a textual analysis of Candyman (1992). The film at first appears to be a product of white liberal guilt at the plight of poor African-Americans; Helen Lyle lives in an expensive apartment originally built as another part of the projects but later sold by the housing authority as a going concern and turned into designer condos. Likewise, Helen is seen working on her research at the University, while black menial workers toil as cleaners in the background well aware of the legend of the Candyman. However, Bernard Rose consciously invokes American history and the oppression of ethnic minorities in his backstory for Tony Todd's Candyman character: the origin of the Candyman is based on a public lynching and plays on the fear of retribution for the historical ill-treatment of African-Americans. Candyman/Daniel Robitaille was the son of a slave, a free man who came into money, schooled, and brought up in polite society. His crime was that of miscegenation: he fell in love with a white girl, whom he made pregnant; his punishment was a horrible death.

Introduction: Candyman and ’90s Horror

This introductory chapter provides an overview of Candyman (1992). In an era dominated by tired pastiche, Candyman remains one of the most original and finest horror movies. Based on Clive Barker's short story, ‘The Forbidden’, Candyman has been widely acclaimed for its social commentary, as well as for its skilful use of horror tropes and cinematic techniques. Its writer-director Bernard Rose has gone on to a distinguished career in Hollywood which has included further notable work in the horror genre, while Candyman has spawned two sequels and inspired numerous movies evoking urban myths and legends, including the financially successful Urban Legend franchise. As a Nineties horror movie, Candyman has prevailed. As well as receiving positive reviews at the time of its release, it continues to win new fans and admirers.

‘Sweets to the Sweet’: from ‘The Forbidden’ to Candyman

This chapter discusses the intersection between Clive Barker's work and that of Bernard Rose; surprisingly, the two are closely connected, even symbiotic. Rose's UK debut film Paperhouse (1988) concerned the fantasy world of a young girl, and his subsequent work has shown a tendency towards transgression and transcendence, and repeated returns to social horror. Indeed, Rose was attracted to Barker's ‘The Forbidden’ because he wanted to ‘deal with the social stuff’. Relocating the action from a Liverpool housing estate to Chicago's notorious Cabrini-Green housing project, Rose extended the story, adding the innocent-person-on-the-run plot twist, and took Barker's conclusion further. But the class subtext, the urban legend and the idea of the myth biting back after attempts are made to debunk it, are all there in Barker's source material. The heroine, Helen Lyle, discovers that her normal life is more banal and morally dead than the eternal life-in-myth that the Candyman offers her.

Candyman: Production and Reception

This chapter provides a background of the production and reception of Candyman (1992). It begins by looking at the casting of Tony Todd for the Candyman role, as well as the casting of Virginia Madsen for the role of Helen Lyle. The chapter then details the filming of Candyman in the real Cabrini-Green housing project. The producers worked closely with the residents' association and employed Cabrini-Green youths to act in the film, which also served to help the production's credibility with the residents. Finally, the chapter details how the theatrical release of Candyman came at a time of great racial tension in Los Angeles. According to Bernard Rose, Candyman had a test screening scheduled on the day that the Rodney King riots broke out; this would mark the screening as taking place in April of 1992, several months before Candyman's US theatrical release in October. As Clive Barker has remarked, there was genuine fear amongst the movie executives that, in the aftermath of the riots, the film would be seen as racist.