Candyman (1992) v Candyman (2020): Commentary and Comparison
wc: 797
Before this class, I had been meaning to watch Candyman (the original!) for a while now, as it was one of the last mainstream horror movies I had left to watch – I didn't even realize there was a new film made in 2020. So, right when this class started, I watched the original on my own, and I wasn’t sure what I expected but it was definitely interesting, especially in regards to the power that folklore holds. I watched the new film today, just before writing this, and I have to say that it surprised me as well, but in an entirely different way. I am superstitious and cover my eyes when they say His name so I don’t see any reflections, but this movie had me turning away at other scenes as well. Previously, the only other film that made me close my eyes was Texas Chainsaw Massacre, as I couldn't handle the gore, and that sentiment held true in this film as well. Near the end...
where Anthony's body began to truly change, and be changed, into the likeness of the original Candyman, I couldn’t handle it! So I suppose props in the “this made my skin crawl” department.
Moving to a more in depth analysis, we will begin with the original. The main, or one of the main, conflicts is that Candyman (a black man) is chasing after Helen (a white woman) and messing with her mind, trying to convince her to join him, to kill with him, to be eternal with him. This relationship is seen as taboo and is harmfully reminiscence of the stereotype that Black men are aggressive and animalistic, and they desire a white woman as if they are forbidden fruit (though I suppose historically they were in a way), and will do anything to get her, including harming her, or taking her against her will. In this sense, one could then view Candynman and Helen's entire relationship as a metaphor. Of course, their relationship is a parallel to the story told depicting how Candyman (Daniel Robitaille) originally died – he loved and had an affair with a white woman, then when found out was chased and murdered. So one could view his and Helen's relationship as a cautionary tale for Black men wanting to break the status quo…not exactly a good message, especially in modern society. The theme throughout the film is not only highly racialized, but also involves class and classism. It was strange to me that Candyman would kill anyone indiscriminately when he was murdered by rich white men due to his relationship, but what did these people living in Cabrini-Green do? I suppose Candyman is a Boogeyman and not a vengeful type spirit, but still…
In the 2020 film, I feel like we get more context for what is shown in the original. Throughout the film, the concept of “being eternal” is explored in multiple ways – Anthony's art is referred to this way, the legend of Candyman is eternal, and the pain that people in this community have and share is eternal. It’s implied in the film that horror and folktale is used as an outlet for this pain, but interestingly enough, this folktale is giving life to these horrors as well. It's interesting to explore the power that shared belief and words have. And of course, near the end it's revealed that Anthony was some sort of vessel of the original Candyman, as he physically becomes him in some sort of ritual (completed on accident by the police comin in and killing Anthony), but his other things in his life parallel Daniel, like his art career. When Anthony starts his series on Cabrini-Green, he says it feels like he knows what he's supposed to do for the first time in his career…probably because looking into the legend of Candyman and where he was born (and originally kidnapped) was the trigger to his descent into the Boogeyman persona. Him being an artist also brings up the interesting conversation of class. The art critic even claims artists are gentrifiers, that they are the reason for the neighborhood being neglected, and though this comment isn’t necessarily or completely true, it does make the viewer wonder.
One other thing I want to mention from the new film is the scene in which Anthony is in the mirror elevator. Watching it, I thought it was interesting in the sense that the endless reflection creates the illusion where you don't know where you start or end – a metaphor for not knowing where “you” start or Candyman starts inside ones (Anthony or Helens) mind – overall you dont know whats real and a hallucination. In the end it seems that just because something is just in your head, doesn’t mean it's not “real”.
As always, there's so much to cover and so little time, but I’ll end it there.
