As far as ghetto urban legend movies go, this is creepier than The People Under the Stairs, but not quite as memorable. The character of Candyman1 is excellent, and Tony Todd plays the legendary ghoul of Cabrini-Green with gusto. But the story meanders too much, and gets much too hackneyed for such an original premise.
Helen Lyle (Virginia Madsen, Highlander 2: The Quickening, Sideways) is studying urban legends and wants to outdo the tenured profs at the U. She teams up with Bernadette (Kasi Lemmons, Silence of the Lambs, Hard Target) to seek out the origins of the darkest legend only spoken of in whispers, that of the Candyman2. Sort of an amalgam of “Bloody Mary” and ghost stories of escaped slaves, saying his name 5 times in front of a mirror will apparently summon him. He was the son of a slave who fell in love with a plantation owner’s daughter, and when whitey gets wind of it, they hack his hand off, jam a hook into the meaty stump, and then strip him naked and smash a beehive on his gonads. Ow.
His ashes were spread over the land that would be the home of the infamous Cabrini-Green housing projects in Chicago, lorded over by gangs so powerful that the film-makers let them be extras in exchange for protection. As Helen delves into the evidence of the legend which include recent brutal murders and mutilations- a boy castrated in a restroom, a babysitter and child disemboweled- she explores the spooky underbelly of the projects, finding things that any urban explorer would jizz in their pants over. The best is when she finds a sub-basement, and emerges through a hole in the wall, around which Candyman’s3 face is painted on the other side.
Helen meets few people who are friendly to her- most outsiders come to the projects to gawk or brave the dangers, or as misguided do-gooders. She meets a young mother who sneers, and tells her not everyone here is a gangbanger or a drug addict, and most just want to be left alone to live in whatever dignity they can scrounge. She learns that people believe in the legend, and but are understandably quiet about it. You don’t talk much about a guy who comes to kill you if you say his name 5 times. Helen makes the mistake of saying his name in front of a mirror as a lark, and getting his notice.
Shortly after, Helen is approached by a strange man in a long pimp coat in the parking deck, with a deep and alluring voice. Who could that be? He speaks of her as if they are destined to be together, and after she faints, the body count starts to rise. This is where the movie falters, by becoming a slasher film. Helen awakes next to mutilated bodies, and we know she didn’t kill them because we saw Candyman4 do it; it would be better if we weren’t sure. She gets committed to a mental institution, and her husband Trevor (Xander Berkeley, T2, “24”) decides to get a newer model instead of trying to help. Soon Helen realizes that her only hope is to fight back, but how do you fight a monster?
The ending is ultimately unsatisfying, with little resolution- there is some interesting conjecture that legends only live because we believe, but that goes nowhere. In the end, the C-man is defeated too easily, and we get a new monster a little too reminiscent of Fredwina Krueger to take his place. The premise is a great one, but in the end they don’t do a lot with it. Philip Glass was brought on board to score it, but withheld the rights when he saw they’d changed it to a slasher film. I think he made the right choice. This could have been a lot better, and it’s a shame, because Tony Todd’s performance is unforgettable, and iconic.
Whew, I reviewed it and only said it 4 times! Oh wait, does the post title count? Shit.