|
|
|
Candyman: Collector's Edition
[Blu-ray]
Blu-ray A - America - Shout! Factory Review written by and copyright: Anthony Arrigo (13th February 2019). |
|
The Film
 The name nobody should say five times – Candyman - has been on plenty of horror fans’ lips recently, not only because of this ridiculously loaded special edition Blu-ray fans have been craving for years but filmmaker Jordan Peele just announced he’s producing (NOT directing, as clickbait headlines would love you to believe) a remake to Bernard Rose’s “Candyman” (1992). Peele is a talent, but this is not exciting news. How could anyone hope to improve upon Rose’s seminal horror film? Not only did Rose expand upon Clive Barker’s short story, “The Forbidden”, by fleshing out characters and rooting his film in the decay of urban America, exposing still-hot prejudices and issues regarding race, but he created a veritable horror icon with Tony Todd’s captivating performance. The only area where I could see Rose’s film needing improvement is the ending (which has never really worked for me), but that doesn’t justify remaking a classic that – 27 years later – still brings a chill up my spine whenever Todd’s gravelly voice beckons. Helen (Virginia Madsen) and Bernadette “Bernie” (Kasi Lemmons) are a couple of graduate students researching urban legends, interviewing locals to get their take on storied scares. One tale that keeps coming up is that of Candyman (Tony Todd), a hook-handed villain said to appear when his name is uttered five times while looking into a mirror. For kicks, Helen and Bernie tempt fate by doing just that later in the day. The two women then decide to visit the home of an apparent victim, a place where Candyman is rumored to reside: the notorious Cabrini-Green housing projects, a squalid harbor for drugs and violence. There, they find evidence neither proving nor disproving Candyman’s supposed crimes. Later, during a dinner with Helen’s husband, Trevor (Xander Berkeley), the women are schooled by a colleague, Phillip Purcell (Michael Culkin), who informs them of Candyman’s backstory and his incentive for vengeance. Armed with all this knowledge of Candyman’s past and his rumored present, Helen refuses to abandon her search for truth, leading her right to the man himself. Like all good films there are a number of reasons why this one works so well, but here’s the biggest: Tony Todd. His towering and intimidating presence, coupled with that mellifluous voice that flows like sweet honey over asphalt, instantly turned him into a horror icon. I had the pleasure of flying with Tony to a few conventions and I can tell you this, the man cannot walk two feet in any direction in an airport with someone yelling out “Candyman!”; often multiple people at once. Todd didn’t just create an icon for a genre, but for an entire race. Candyman is a tragic figure; the victim of a (mostly) bygone era of racism when a black man even looking in a white woman’s direction was asking for trouble. In Candyman’s case, that “look” extended to true love with the wrong woman. Todd’s portrayal captures glimpses of Candyman’s pain but what perseveres over all else is his unyielding quest for vengeance and remembrance. His legacy, those tales – that is what keeps him alive. I still don’t fully understand why he kidnapped that baby (or how he fed it) but this is a shining example of a character being fully married to an actor, much like Robert Englund with Freddy Krueger. Another reason this film has endured is composer Philip Glass’ unnerving choir-and-organ score that sounds far too polished and elegant for such decayed urban horror, yet here it is raising the hair on arms and shuttling a chill into the air. Rumor has it Glass didn’t know what kind of film he was scoring until it got released (was he scoring cold?) and he was none too happy upon learning it was horror. Why, then, would he return for the sequel? Oh, right - $. Candyman doesn’t quite have his own theme – though strangely, Helen does – but Glass’ use of classical instrumentation and a wordless choir creates these incredible leitmotifs that are simply beautiful. The score is a real juxtaposition to the film itself, though it does work wonderfully for the eponymous star who was raised in polite society. For as much as I love the film, even all these years later the ending just doesn’t quite work. The first time I saw it, some 27 years ago on VHS – and it terrified the SHIT out of me and my friend that night – I remember being confused why you-know-who was suddenly taking up the mantle. Having seen the film a dozen times or more since then, yea, it just doesn’t work all that well. I know what Rose was going for, and tonally it fits in with Barker’s original short story, but I think it could have been handled differently. I don’t consider it a slight against the film, though. This is the essence of horror, expertly crafted all around. Todd would return for a further two sequels – “Candyman: Farewell to the Flesh” (1995) and “Candyman: Day of the Dead” (1999) – though only the former is worth watching. I wish Peele the best of luck with that remake but I’d rather see him create another new black horror icon than retread one already done so well. Similar to the recent U.K. release from Arrow, Scream Factory has included two cuts of “Candyman”: the theatrical version and an unrated cut. The difference between these two is negligible, with only a bit of extra blood during one death later in the film making up the additional footage. But, you know, we want that blood and so the unrated cut would be the version to watch. Just don’t go in thinking there are any major differences or scene extensions.
Video
Culled from a 2K scan from a recent 4K restoration, supervised and approved by director Bernard Rose and director of photography Anthony B. Richmond, the 1.85:1 1080p 24/fps picture is stunning. The grimy crust of Chicago’s inner city is hauntingly captured; every trashy detail and burned-out husk that once resembled a gleaming structure. When Helen sees “Sweets to the Sweet” scrawled in feces on a bathroom wall, you can almost reach out and feel the craggy surface through your screen. Closeups are, as Candyman might say, exquisite. There are a few softer shots here and there, nothing to gripe about.
Audio
As usual, Scream Factory has included an English DTS-HD Master Audio track is 2.0 stereo and 5.1 surround sound flavors. The multi-channel track is enveloping, filling the soundfield with Glass’ sumptuous score. Dialogue is punchy and balanced. Candyman’s frequent guttings produce visceral sounds, audibly ripping through the speakers like a dull knife through undercooked meat. Todd’s voice is booming, ominously projecting with dark harmony. Just as with the video quality, there is nothing to gripe about here. optional subtitles are included in English for the hearing impaired.
Extras
DISC ONE: BLU-RAY - "Theatrical Cut" There are FOUR audio commentary tracks available: - The first audio commentary features Screenwriter/Director Bernard Rose & Actor Tony Todd (NEW). - The second audio commentary features Authors Stephen Jones and Kim Newman. - The third audio commentary features Director Bernard Rose, Author Clive Barker, Producer Alan Poul, and Actors Tony Todd, Virginia Madsen, and Kasi Lemmons. - The fourth and final audio commentary features Director Bernard Rose, Moderated by The Movie Crypt’s Adam Green & Joe Lynch. “Sweets to the Sweet: The Candyman Mythos” (SD) featurette runs for 23 minutes and 49 seconds, this is a retrospective piece done some years back, featuring interviews with the cast & crew as they reflect on making the movie. “Clive Barker: Raising Hell” (SD) featurette runs for 10 minutes and 46 seconds, this is a great little overview of Barker’s career, how he got started, why he was drawn to horror, and more. “The Heart of Candyman” (1080p) featurette runs for 7 minutes and 7 seconds, this is a new, brief chat with Tony Todd that seems to be taken from the same chat he gives on disc two. Weird. “Bernard Rose Storyboards” (SD) featurette runs for 5 minutes and 22 seconds, get a glimpse at pre-production art to see how it stacks up against what was filmed. A theatrical trailer (SD) runs for 2 minutes and 3 seconds. Three TV spots (SD) run for 1 minute and 36 seconds. A still gallery (1080p) runs for 5 minutes and 19 seconds, containing 65 images. There is also a BD-ROM extra that allows buyers to view the film’s original script. DISC TWO: BLU-RAY - "Unrated Cut" “Be My Victim” (1080p) featurette runs for 9 minutes and 47 seconds, this is a new interview with Tony Todd, who discusses the film, his character, and its legacy. “It Was Always You, Helen” (1080p) featurette runs for 13 minutes and 11 seconds, Virginia Madsen sits down for a new interview, touching upon casting decisions, filming in sketchy parts of town, and the extensive prosthetics she had to wear during the climax. “The Writing on the Wall: The Production Design of Candyman” (1080p) featurette runs for 6 minutes and 22 seconds, production designer Jane Anne Stewart starts off her chat recounting an amusing story in which Rose wanted someone who knew African-American films – and presumably was also of that descent – so he chose someone who did a notorious blaxploitation spoof… and in walks this Southern blonde. “Forbidden Flesh: The Makeup FX of Candyman” (1080p) featurette runs for 8 minutes and 2 seconds, a handful of the film’s FX artists chat about the work they designed for the feature. “A Story to Tell: Clive Barker’s “The Forbidden”” (1080p) featurette runs for 18 minutes and 39 seconds, writer Douglas E. Winter offers up an informative talk about Barker’s “Books of Blood” series before delving into discussion on the short story that inspired the film. “Urban Legend: Unwrapping Candyman” (1080p) featurette runs for 20 minutes and 41 seconds, writers Tananarive Due and Stephen Barnes offer up critical analysis of the film through the lens of black America. “Reflections in the Mirror” (1080p) featurette runs for 9 minutes and 48 seconds, this is a new interview with Kasi Lemmons, who plays Bernadette in the film. “A Kid in Candyman” (1080p) featurette runs for 13 minutes and 36 seconds, DeJuan Guy played young Jake in the film and here he recollects on the brief role that still gets his recognition.
Packaging
The two-disc set comes housed in a standard Blu-ray keep case. The cover art is reversible. A slip-cover featuring new artwork is available on first pressings.
Overall
“Candyman” is one of the best horror films of the 90's; a bleak, powerful picture that draws from horrors both imaginary and all-too-real. Scream Factory’s Blu-ray release for U.S. audiences comes stuffed with hours of excellent bonus features, stellar a/v quality, and offers up two (very slightly different) cuts of the film. Look into your wallet and say his name five times.
|
|||||
|