Marie Antoinette

Tags

2000's, Asia Argento, Biopic, Historical Drama, Jason Schwartzman, Judy Davis, Kirsten Dunst, Marianne Faithfull, Marie Antoinette, Rip Torn, Rose Byrne, Sofia Coppola, Steve Coogan

Film Title

Marie Antoinette

Director

Sofia Coppola

Cast

• Kirsten Dunst as Marie Antoinette
• Jason Schwartzman as Louis XVI of France
• Judy Davis as Comtesse Anne de Noailles
• Steve Coogan as Florimond Claude
• Rip Torn as Louis XV of France
• Rose Byrne as Yolande de Polastron
• Asia Argento as Madame du Barry
• Marianne Faithfull as Empress Maria Theresa

Sofia Coppola’s third picture, loosely based on the life of the notorious French queen, is not the average historical drama/biopic we are used to seeing. If it’s cold hard facts you are looking for, turn away now as this takes liberties with history. But if you can accept the film as an MTV style, rock and roll story of a young girl stuck within the alienating boundaries of monarchy and pressure, then you may enjoy this sympathetic, visually sumptuous and ambitious account of the much debated Queen and her life.

At the beginning of the film the year being 1768, we are introduced to Marie Antoinette. She is the 14-year-old daughter of Empress Maria Theresa of Austria and is charming, beautiful and naive. She is selected by her mother to marry the Dauphin, who will later become King Louis XVI, in an attempt to form an alliance between Austria and France. The young girl travels to France and meets the current king, Louis XV. After her marriage to Louis the Dauphin, who is nervous and not at all intimate with her, she is encouraged by those around her to produce an heir. This proves hard for Marie as there is hardly any passion within her union to Louis.The naive Marie is further alienated by her courtiers for being Austrian and for the fact that she hasn’t produce an heir yet. This leads to her feeling trapped and lonely within the many rules and customs of Versailles that she frequently dismisses as ridiculous . To ease her loneliness, she begins to spend large sums of money on fashion, gambling and throwing lavish parties.  This or so we are led to believe is one of the many reasons that the French people revolted against the monarchy and ultimately led to her downfall.

The first thing to note when watching the film is the visual appeal, which can’t be faulted. Making stunning use of Versailles, we are shown the lavish and equally decadent side to Marie’s lifestyle. Versailles, in the hands of Coppola almost becomes a pre-revolution high school, complete with gossip around every corner and scandal at every door. Differing from the conventional classical music of period pieces, Coppola lets loose with a soundtrack of 70’s and 80’s anthems, the results of which are sometimes interesting and other times intrusive to the narrative. Sofia Coppola’s script paints an interesting portrait of the controversial Marie, this time showing us a misunderstood young girl trapped within her new lifestyle whose choices incurred the wrath of many. I personally found this account an interesting one, there also were a few times in which events could have been expanded, but on the whole it was a curious spectacle nonetheless. One thing that can’t be faulted is Kirsten Dunst’s expressive portrayal of the eponymous queen. She captures the skittish, carefree and naive side to her whilst revealing a melancholy uncertainty arising from her loneliness and alienation. Jason Schwartzman is a hoot as Louis XVI who doesn’t often see the attractiveness of his bride and is initially unable to feel intimacy with her. Judy Davis ably stars as the lady in waiting who scolds Marie for her carefree attitude when it comes to the traditions of the French court. Rose Byrne adds a comedic side to the film as the money spending best friend of Marie who is one of the few people who amuses her in her life. In a brief but memorable role, Marianne Faithfull is icily imperious as the Empress who knows exactly what she wants. Look out for Steve Coogan as a witty diplomat, a stately Rip Torn as the ailing Louis XV and Asia Argento, delightfully sultry as the dishonorable mistress of the king.

I often thing that Marie Antoinette gets a lot of dissent because of its modern ideas and contemporary casting. But if you can handle a slightly revamped film that paints an original portrait of the monarch in question, Sofia Coppola’s ambitious Marie Antoinette may be the film you’re looking for. Yes it may have its flaws, but then again, history lessons where never as interesting and original as this.

Cookie’s Fortune

Tags

1990's, Charles S. Dutton, Chris O'Donnell, Comedy, Cookie's Fortune, Drama, Glenn Close, Julianne Moore, Liv Tyler, Ned Beatty, Patricia Neal, Robert Altman

Film Title

Cookie’s Fortune

Director

Robert Altman

Cast

• Glenn Close as Camille Dixon
• Julianne Moore as Cora Duvall
• Liv Tyler as Emma Duvall
• Chris O’Donnell as Jason Brown
• Charles S. Dutton as Willis Richland
• Patricia Neal as Jewel Mae “Cookie” Orcutt
• Ned Beatty as Lester Boyle

Brimming with engaging characters and laced with an eccentric humour, Cookie’s Fortune continues to show Robert Altman’s deft skill with talented ensemble casts. Focusing on the effects of an old woman’s suicide on the many eccentric people in her life, this yarn boasts off-kilter humour and bittersweet drama in equal measure.

Jewel Mae or Cookie as she is often called is the no-nonsense, ageing resident in the quiet town of Holly Springs, Mississippi. For years she has missed her husband and has pined for his presence in her life. She lives in an old but grand house with loyal handyman and best friend Willis Richland. Also living in the town are Cookie’s nieces, Camille and Cora. The sisters are polar opposites; Camille is a domineering, overly dramatic woman and Cora is naive and easily led by everything her sister says. Also arriving in town is Cora’s daughter Emma, a rebellious teenager who genuinely cares for her aunt and is engaged in an on-off relationship with a comically inept cop called Jason. Cookie decides it is time she joined her late husband and plans her own suicide by shooting herself as Easter approaches. After going through with it, she is found by Camille, who is presiding over the Easter performance of Salome. The already highly strung madam destroys the evidence of a suicide attempt and tries to make it look like the old woman was murdered. The reasons for this are Camille’s opinion that it will shame her family’s name and more prominently her desire to inherit the riches of the woman. After convincing Cora to help her, the police begin to investigate. The blame falls upon the kind Willis, but Emma is not so convinced by it and sets out to unearth the truth. As skeletons begin to rattle and secrets rise to the surface, dark humour is found in Camille’s desperate attempts to avoid being found out. Touching moments also appear as we watch Emma try to save her friend from imprisonment. As usual, Robert Altman keeps the story ticking over with an eccentric ensemble cast, bittersweet revelations and a darkly comic undertone.

Although dealing with crime and accusations of murder, there is an almost breezy lightness and playfulness that pervades the film and keeps the drama and humour excellently intertwined and convincing. It may be said that it is one of Altman’s most accessible films, mainly because it focuses on the ensemble cast but doesn’t feature the cross-cutting between too many characters that his other films do very effectively but can also confuse viewers. The cast is the main reason to watch Cookie’s Fortune. Most of the humour comes from moments in Glenn Close’s theatrical and hysterical performance, such as the side-splitting moment in which she elaborately plans the way the “murderer” would have entered the house. Ably Supporting her is Julianne Moore in full on quirky mode as the subservient and odd Cora. Liv Tyler is impressive as the rebellious outcast Emma, capturing her youthful, spunky spirit and sullen disdain for her hypocritical aunt. Chris O’Donnell is a hoot as Jason, the inept and inexperienced cop who woos Emma. Charles S. Dutton has one of the best roles, exuding subtle emotions as the fiercely loyal handyman Willis, who out of most of the people actually cared for the old Cookie. In the small but pivotal role as the eponymous Cookie, Patricia Neal is superbly cast. It is through her character that every event unravels and the various deceit and lies come to the forefront of the plot. Rounding out the impressively assembled cast is Ned Beatty as the head cop who uses fishing as a philosophy for life and what happens in it. Credit must go to the screenplay for injecting the oddball sense of humour that punctuates into the narrative. The simple but well-chosen bluegrass and jazz soundtrack adds to the Southern atmosphere of this crime comedy drama.

In my opinion, Cookie’s Fortune is a neglected gem in Altman’s canon. If it’s an oddball comedy filled with drama and finely drawn characters that you want to see, Cookie’s Fortune is a certain safe bet.

Frankie and Johnny

Tags

1990's, Al Pacino, Comedy, Drama, Frankie and Johnny, Garry Marshall, Hector Elizondo, Kate Nelligan, Michelle Pfeiffer, Nathan Lane, Romance

Film Title

Frankie and Johnny

Director

Garry Marshall

Cast

• Al Pacino as Johnny
• Michelle Pfeiffer as Frankie
• Hector Elizondo as Nick
• Nathan Lane as Tim
• Kate Nelligan as Cora
• Jane Morris as Nedda

A funny and often touching tale of two people falling hesitantly in love, Frankie and Johnny is a romantic comedy drama boasting great performances and a poignant screenplay that pierces to the heart of the meaning of love for different people.

Johnny is a middle-aged men who has just been released from prison. He has an exceptional talent for cooking and whilst searching for a job is hired by Nick, the Greek owner of a busy diner in Manhattan. It is here that Johnny first lays eyes upon Frankie, a plain waitress who tries to keep emotional attachments at arm’s length. He is immediately smitten and tries to woo the distant Frankie, finding it will be a hard task to convince her that love exists as she seems to turn him down every time he tries to express himself. Through his relentless pursuit of her, he gradually gets her to emerge from her shell and speak of why she doesn’t like attachment. Prepare for funny and soul-searching moments as they gradually see the good in each other in this warm, romantic comedy.

As the happy, hungry for life Johnny, Al Pacino shows a flair for comedy as we watch his various declarations of love met with a no. He has excellent chemistry with Michelle Pfeiffer, and provides their scenes with a dramatic and tender charm. At the time of the film’s release, much was made by critics of Michelle Pfeiffer being “too pretty” for the role of the lonely and forlorn Frankie. Yet I disagree, as she adeptly rises to the challenge and creates a beautifully touching performance, filled with a dejected melancholy and vulnerability that eventually gives way to hope. Standout’s from the supporting cast include Hector Elizondo as the manager of the diner, Nathan Lane as Frankie’s gay neighbour who wants the best for his close friend and Kate Nelligan as the sassy, gum-chewing waitress Cora, whose discussions with Frankie regarding men are hysterical to watch. Garry Marshall manages to sidestep some of the usual formula involved in romantic comedies to form a tender love story that will make you laugh but touch your heart deeply, sometimes at the same time. Adapting from his own play, Terrence McNally fills the film with comedic and equally insights into the ways the heart works when it comes to love. This is most evident in the way he writes the scenes in which Johnny tries to impress Frankie with his knowledge of Shakespeare and old music. When he mentions that they were made for each other because their names also are the title of a song, she replies “Didn’t they end up killing each other”? Johnny’s hilarious answer to this is “No she killed him, so I’ve got the edge there”. This is one of many witty and loving sparks of dialogue that appear throughout the film to give it a tender but never cloying examination of hesitant romance.

Witty, warm and tinged with subtle melancholy, Frankie and Johnny provides excellent roles for the cast, sparkling chemistry between Al Pacino and Michelle Pfeiffer and makes an emotional connection with the audience, making the material very relatable.

The Bravados

Tags

1950's, Gregory Peck, Henry King, Joan Collins, Stephen Boyd, The Bravados, Western

Film Title

The Bravados

Director

Henry King

Cast

• Gregory Peck as Jim Douglas
• Joan Collins as Josefa Velarde
• Stephen Boyd as Bill Zachary
• Albert Salmi as Ed Taylor
• Henry Silva as Lujan
• Lee Van Cleef as Alfonso Parral
• Herbert Rudley as Sheriff Eloy Sanchez
• Joe DeRita as Simms

A powerful and brooding western about revenge and redemption, The Bravados boasts an impeccable central performance from Gregory Peck. Thrillingly scored and impressively shot, the film is a grim parable of a man driven to the extremes by the need for vengeance against those he holds responsible for the shattering of his world.

The Bravados begins with Jim Douglas, a rancher who has been hunting a quartet of outlaws for over a period of six months, arrives in the quiet town of Rio Arriba. His journey is for revenge against the four men he believes raped and murdered his wife. The four men are due to hang the next day for other crimes they have committed. After talking with the sheriff, he is allowed to see the four criminals, who are led by the crafty Bill . He observes them but none of them seem to recall his face. The arrival of Jim coincides with the other arrival of Simms, the man charged with carrying out the hanging. Jim also meets Josefa, an old flame who has wondered about Jim since she last saw him five years ago. Later that night, whilst the townspeople are at mass, Simms who it is revealed is in league with the criminals helps them escape. The quartet quickly steal a few horses and take a local man’s daughter captive as they ride away to escape justice. Jim, with the help of a few local men, shortly follows them through various gorges and mountains, all in a single-minded quest to eliminate the men he believes have caused him so much pain.

Visually, Henry King’s revenge-riddled film is a marvel containing gorges soaked in gold and dust that juxtapose with images of Jim relentlessly and violently pursuing the outlaws. Also, the scenes at night bathed in blue hues as we watch a man get in touch with his darker impulses and wrestle with his morality. The score is adventurous and contributes to the danger of the journey ahead for the characters, especially Jim. Gregory Peck turns in a powerful performance of bitterness, vengeance and determination that pushes him to the brink of madness. As we watch him hunt down the men, we are left to wonder whether they have really committed the crime he accuses them of. Peck embodies these conflicted emotions excellently and conveys a deep pain within his character as his relentless quest continues to its end and his morals are called into question. Joan Collins stars as his former love interest who still carries a torch for him, but her part is underwritten and she is miscast. Despite this, she does manage some effective moments, mainly when she gets Peck’s character to confront his loss of faith after his wife’s death. Out of the gang of outlaws, Stephen Boyd makes the biggest impression as the de facto leader Bill. He possesses a sinister smile and unnerving demeanor that come into play when he toys with the emotions of the girl they have taken captive. The many shoot outs and chases on horseback are entertaining, but what gives the film a uniqueness is the dedication to the characters as they emotionally unravel through revenge and remorse.

In my opinion, The Bravados is an underrated film that deserves more notice. It may not be up there with the best westerns, but it certainly burns itself deep into the mind after viewing it.

They Shoot Horses, Don’t They?

Tags

1960's, Bonnie Bedelia, Bruce Dern, Dance Marathon, Drama, Gig Young, Great Depression, Jane Fonda, Michael Sarrazin, Red Buttons, Susannah York, Sydney Pollack, They Shoot Horses Don't They?

Film Title

They Shoot Horses, Don’t They?

Director

Sydney Pollack

Cast

• Jane Fonda as Gloria Beatty
• Michael Sarrazin as Richard Syverton
• Gig Young as Rocky
• Susannah York as Alice LeBlanc
• Red Buttons as Harry Kline
• Bonnie Bedelia as Ruby
• Bruce Dern as James

They Shoot Horses, Don’t They? is a cathartic, emotionally intense and allegorical look at the Great Depression seen through the weary eyes of those entered into a dance marathon. Desperation, broken dreams and manipulation all feature heavily in the well-acted story of the extreme lengths people will go to in times of economic decline.

In 1932, Richard Syverton is a drifter who one day stumbles upon a dance marathon, the prize for the winner being $1500 . He is then recruited by the manipulative Master of ceremonies Rocky to partner a cynical and discontented young woman named Gloria, when her partner falls ill. Although they barely know each other, they enter for the money that is much-needed at this time in their lives. Amongst the other contestants are Harry Kline, an old sailor who refuses to give up; Alice LeBlanc, a deluded English actress with dreams of making it big, and Ruby, a pregnant woman and her husband James.  As the contents starts, we witness how the oily Rocky exploits the insecurities of the couple’s for the audience’s enjoyment and how he puts them through a series of humiliating tasks. This begins to take its toll on the contestants as nerves begin to fray, anger begins to boil and pain becomes all to real. The film in part resembles what reality TV might have been like in the 30’s and the manipulative machinations that go on behind the scenes for the audience’s pleasure. It also functions as a haunting study of desperation within everyone and how it is brought to light through circumstance.

The use of lighting particularly shadows and hues of sepia conjure up a bleak picture of desperate people just trying to get along in this time of hardship. The various uses of old music further capture a nation’s melancholy but still a fleeting bit of hope; most apparent when the pregnant Ruby sings “The best things in life are free” in an emotion choked voice still clinging to her belief that something good will happen. Sydney Pollack has created an immensely believable portrait of the Great Depression and he should be praised for his kinetic direction during the exhausting derby that the contestants are put through. We are placed within this melee of people trying to stay on their aching feet as they race aimlessly round a course. By the end, your emotions are exhausted from the shock of seeing it. The cast assembled for the picture excellently embody the emotions of these people just needing to win. Jane Fonda is the biggest revelation as Gloria, essaying a multi-layered performance of desperation, cynicism and melancholy.  Her scenes with Michael Sarrazin are outstanding, as we witness two strangers closely forming a deep relationship against a backdrop of pain. Sarrazin exudes so much emotion through his searching eyes it is unbelievable. The supporting cast is equally as strong. Gig Young stars in an unforgettable Oscar-winning portrayal of greed and mendacity, his shouts of Yowza becoming menacing and taking on sinister tones as the contestants continue to dance for his enjoyment. Susannah York is heartbreaking as the deluded Alice, who for all her glitzy gowns and make-up can’t escape the desperation of her life. Her breakdown in the shower is so intense and shocking, as an audience all we can do is witness it as her blue eyes become haunted. Red Buttons, Bonnie Bedelia and Bruce Dern further add to the dramatic impact of the film.

All in all, They Shoot Horses, Don’t They? is not the most comfortable film to watch but is certainly a devastating evocation of anguish and the need to survive. If it’s dramatic emotional viewing that you require, try this film from Sydney Pollack.

Female Agents

Tags

2000's, Déborah François, Drama, Female Agents, Foreign Language Film, Jean-Paul Salomé, Julie Depardieu, Julien Boisselier, Marie Gillain, Maya Sansa, Moritz Bleibtreu, SOE, Sophie Marceau, Thriller, World War II

Film Title

Female Agents

Director

Jean-Paul Salomé

Cast

• Sophie Marceau as Louise Desfontaines
• Julie Depardieu as Jeanne Faussier
• Marie Gillain as Suzy Desprez
• Déborah François as Gaëlle Lemenech
• Moritz Bleibtreu as Karl Heindrich
• Maya Sansa as Maria Luzzato
• Julien Boisselier as Pierre Desfontaines

Inspired by true events, Female Agents tells of five women’s attempts to stop secrets being leaked to the Nazi’s during World War II regarding the Normandy Landing. Thrilling, compelling and excellently acted, it is a tribute to brave women during the war and the dangerous tasks taken to ensure the safety of millions.

The year is 1944. Louise Desfontaines is a member of the French Resistance who flees to London after her husband is killed. She is then recruited by SOE( Special Operations Executive), an organisation created by Churchill to conduct spying and dangerous missions in occupied Europe. Louise is tasked with the rescue of a British geologist who has been captured by the Germans and holds valuable information regarding the Invasion of Normandy. She is told to form a group of women to aid her in the dangerous mission along with her brother Pierre. The women are chosen for specific qualities and reasons. They are Suzy, a seductive cabaret dancer who was formally engaged to a Nazi colonel, Gaëlle, a devoutly religious girl who is skilled with explosives, Jeanne, a hard-edged prostitute adept with weapons and Maria, a Jewish woman looking for revenge after her family was taken to a concentration camp. They arrive in France and quickly go about rescuing the man from enemy clutches in a French hospital. The women seem to have succeeded until they are accidentally revealed to a prominent colonel in the SS, Karl Heindrich who happens to be Suzy’s former lover. From then on it a race against time to not only save the geologist but also their lives and carefully planning to kill the colonel. Prepare to be enthralled by the dangerous mission undertaken and the lengths the women go to in order to survive and see it through.

The first thing that catches the eye is the believability of the settings and costumes, that really take you into the heart of war-time intrigue. Music plays a key part in the film and the score adds a poignant and epic sweep as the narrative unravels at a break neck speed. Credit must go to the screenplay for presenting a war movie from a female perspective, carefully showing us the dangers these women undertook to make sure of successful missions that could cost them their lives. Although the film goes at a fast, driving speed, the film still makes time for us to engage with the five women and watch as they risk their lives for their cause. The film although packed with adventure does not shy away from the brutalities of war and intrigue, clearly shown when members of the group are tortured for information by having their heads dunked underwater and hit repeatedly.  Above all, it is the acting, mainly from the quintet of women that keeps the story running smoothly. Heading the cast is Sophie Marceau as Louise, she carefully embodies the stoic responsibility as leader of the group but we sense a pain underneath her outwardly cold facade. Julie Depardieu creates a convincing character in Jeanne, the prostitute unafraid of staring death in the face. Marie Gillain exudes glamour and poignancy as Suzy, who is initially reluctant about the mission because she knows it will bring her back into contact with her former lover. Déborah François is luminous as the bomb expert who still clings to religion to get her through the dangerous mission. And Maya Sansa emits a quiet rage as the vengeful Maria, who by her own admission will relish the chance to kill those who murdered her family. Out of the males in the cast, Moritz Bleibtreu is the most convincing, excellently capturing the outward charisma of his SS colonel character but then showing the brutal violence that lurks beneath it.

If it’s a World War II thriller with a difference and a definite and loving recreation of time, then Female Agents is the advisable film for you. The luminous female cast alone is reason to see this inventive thriller inspired by true events.

The Russia House

Tags

1990's, Drama, Fred Schepisi, James Fox, John Le Carre, Klaus Maria Brandauer, Michelle Pfeiffer, Roy Scheider, Sean Connery, Spy, The Russia House, Thriller

Film Title

The Russia House

Director

Fred Schepisi

Cast

• Sean Connery as Barley Blair
• Michelle Pfeiffer as Katya Orlova
• Roy Scheider as Russell
• James Fox as Ned
• Klaus Maria Brandauer as Dante

Based on the book by John Le Carre, The Russia House is a slow-burning spy film with danger, love and politics all coming to the forefront. Relying on old-school spy conventions such as secret meetings and the handling of touchy information rather than shoot-outs and car chases, The Russia House weaves excellent performances, lushly romantic music provided by Jerry Goldsmith and Cold War intrigue into a smooth and complex thriller, that boasts stunning and authentic locations of Russian cities and monuments.

Barley Blair is the hard-drinking and irascible head of a publishing firm who has a special interest in Russia. At one of his writer’s conventions in Moscow, he is spoken to by a mysterious stranger called Dante who listens to Barley talk of tension easing with the West. The meeting at first seems like nothing, but it sets in motion a series of dangerous events. A month later, a manuscript is brought to Barley, after being intercepted by the British Government. The manuscript was sent by a Russian book editor named Katya, who insisted it get to Barley immediately. It transpires that the manuscript contains sensitive and explosive information that could alter the course of power between various countries. Barley is then reluctantly hired by the Government in a co-operation with the CIA to track down Dante and find out if the work is genuine or a dubious political pawn. He arrives in Russia where he is met by Katya, a beautiful and sensitive mother of two who is the linchpin between Barley and Dante. But nothing is as it seems and the case gets more complicated, especially as Barley and Katya fall deeply in love in the process.

If it’s chase sequences, fights and fast cars, then The Russia House may not be for you. But if it’s a slow-burning and subtle spy film with a style reminiscent of old 60’s spy films, then The Russia House will most certainly appeal to you. The use of the beautiful sites of Moscow and St. Petersburg are stunningly shot. Jerry Goldsmith contributes an evocative and smooth jazz score that accentuates the growing attraction between the reluctant Barley and the guarded Katya. In the leading role, Sean Connery expertly shows us a man who has nothing to gain but ends up losing his heart in the process. He exudes a weariness and reluctance rarely seen in his performances. Matching him every step of the way is the excellent Michelle Pfeiffer, who radiates warmth, beauty but a certain guarded and moving quality. Her Russian accent is a supremely convincing asset to her talent. It is through Katya that Barley and Dante are linked, and we realise the life risking tasks she has undertaken to see Barley. The chemistry between the two crackles with excellent dialogue as we watch them slowly develop deep feelings for one another. Supporting them is Roy Scheider and James Fox as the heads of Government and the CIA, their scenes together show a humorous quality as they often debate the next move in the complex case. As Dante, Klaus Maria Brandauer presents a mysterious figures whose motives are never made entirely clear until the case begins to unwind.

If you’re a fan of Le Carre adaptations and the pace of them, The Russia House is the film for you. A superb espionage thriller with a Cold War sensibility and believable romance, enlivened by two outstanding performances from Sean Connery and Michelle Pfeiffer.

Candyman

Tags

1990's, Bernard Rose, Candyman, Horror, Tony Todd, Virginia Madsen

Film Title

Candyman

Director

Bernard Rose

Cast

• Virginia Madsen as Helen Lyle
• Tony Todd as Candyman
• Xander Berkeley as Trevor Lyle
• Kasi Lemmons as Bernadette Walsh
• Vanessa Williams as Anne-Marie

An eerie, atmospheric and intelligent urban horror, Candyman drives to the heart of the meaning of fear and the haunting spectre of urban legends on the mind. Boasting bizarre yet stunning visuals, first-rate performances and a ghostly score by Philip Glass, Candyman is scary and memorable viewing for sure.

Helen Lyle is a Chicago graduate student who is completing a thesis on the nature of urban legends. She is married to a professor who is slimy and seems to have an eye on another girl. While conducting research with best friend Bernadette, she hears of Candyman. The urban legend says that he will appear behind you in a mirror if you say his name five times, then he will cut you open with the hook he has for a right hand. Although curious about this legend, she is still skeptical about whether it is really true. As she continues to look into the story of Candyman, she discovers he was the artistic son of a slave who fell in love with a white woman. When the girl’s father found out that his daughter was with child, he summoned a lynch mob to attack him. He had his right hand cut off and the mob covered him in honey from an apiary, causing bees to sting him to death. The mob burned him on a pyre and his ashes were scattered over the gang-ridden Cabrini-Green housing project. Helen and Bernadette investigate the project and find the people certainly believe in the title character, especially after a girl was murdered in one of the apartments. Still skeptical about it, Helen tries out the theory of calling his name. At first nothing happens, Helen thinks it is just a story used to terrify the residents. Yet when she has her own encounter with Candyman, her world begins to crumble as she realises she has conjured something that she can’t take back and will spell out violent and brutal consequences for her.

Credit must go to Bernard Rose, who directs this imaginative and compelling film with daring visual flair and shocks a plenty. The screenplay excellently captures the duplicitous nature of urban legends. We’ve all been told stories about alleged monsters under the bed or the bogeyman, but with Candyman they are fashioned into a mature and adult tale that focuses on the fear surrounding them. We’ve all doubted the existence of such things, but are we being too scared to actually believe the power of urban legends? The score by Philip Glass is a haunting and sinister listen, mainly usually mournful chorus voices and synthesizers to add to the already creepy atmosphere that becomes even more scary after Candyman’s arrival. Virginia Madsen is emotionally effective and haunting as Helen, who although intelligent and resilient becomes increasingly confused as she realises the extent of her careless actions. Candyman only exists because of her, without her the story wouldn’t flow. She is the driving force within the narrative as it unravels. Tony Todd as the eponymous spirit, adds menacing and strangely romantic qualities to the vengeful hook-handed monster, perfectly utilizing his deep voice and height to scare the unwitting Helen and the audience. This is most apparent in the spine-chilling meeting between the two in a parking lot. He emerges calling her name in a deep voice and speaks of making her his victim to prove he exists, in a perversely romantic way. Helen is hypnotised by his presence, captured in luminous close-up as murals of the spectre flash before her eyes. There is an almost gothic romanticism apparent in the relationship between the two that is reminiscent of Dracula, he’s out for revenge and sees her as the victim of choice. She is entranced and later horrified as she is implicated in suspicious events because of him. The film taps into the share cultural fear of the unknown presence that suddenly takes hold. The gore in Candyman is shocking, but never gratuitous as we know why Candyman does it and his tragic back story.

Candyman itself is a sinister film, with added chills derived by the visuals. Murals and swarms of bees feature heavily and are excellently edited into scenes in which Helen encounters Candyman. We understand the legend at the same time as Helen, showing that the screenplay has revealed subtle insights that at first appear trivial and then take on a shocking new meaning. If it’s a shocking but never dumbed down story of palpable fear, then Candyman is right up your street. Also, you may think twice about saying his name five times to a mirror after watching it.