A common aspect regarding folklore and mythology is that they’re sometimes placed in new locations for the sake of being retold to a new audience. In 1992, director Bernard Rose took"The Forbidden," written by Clive Barker, and set it in the Cabrini Green housing project in Chicago. The result wasCandyman, a film that brought the gothic horror ofDraculainto the American inner-city.
Audiences experienced the birth of a new horror franchise and a new face of evil that could have emerged from the pages of 19th-century literature. Far removed from the brooding landscapes of Transylvania,Candymanembraces urban blight and, to this day, inspires terror, awe, and fascination.
A graduate student (Virginia Madsen) investigates the mysterious “Candyman,” a hook-handed specter thought to haunt a housing project in Chicago, IL.
Following a decade that saw a never-ending cavalcade of over-the-top slasher killers such as Jason Vorhees, Michael Myers, and Freddy Krueger,Candymanoffered audiences a new take on a classic story.
Tony Todd’s portrayal of the titular character, which combines the aristocratic demeanor of Christopher Lee with the sophisticated mannerisms of Bela Lugosi, allowed audiences to be enveloped in a classic story set in a new location where vampires and other creatures of the night had yet to tread.
The Monster Never Dies, He’s Simply Reborn
The imagery synonymous with Dracula is heavily tied to its location. FromF.W. Murnau’sNosferatuto Francis Ford Coppola’s later adaptation. Transylvania, Jonathan Harker, and the disruption of the posh aristocracy of England are commonplace for any adaptation of Bram Stoker’s novel.
Of course, there’s also the vampire himself, the hunter who proves to be irresistible. By taking these facets that Stoker first put to paper years ago and revitalizing them in a new location familiar to modern audiences, we have a film that breaks from convention.
Cabrini Green effectively becomes Transylvania. Its impoverished citizens take the place of the villagers who live in the shadow of Dracula’s castle. The British aristocracy is replaced by the other side of the tracks, as it were, as we follow Helen Lyle (Virginia Madsen), a researcher whose posh apartment complex is a direct contrast to the urban blight of Cabrini Green.
Besides replacing the streets of London and its ruling class, this also sets up a social commentary on gentrification, particularly when Helen mentions that her residence has the same floor plan as some of the buildings in Cabrini Green.
The residents of Cabrini Green live in fear of the Candyman, whom Helen and several of her colleagues dismiss as nothing more than folklore and superstition. The premise of a monster being real to some and dismissed by others furthers the aspects of social commentary and gentrification as Helen dismisses the beliefs of Cabrini Green’s residents as being primitive and unfounded, in contrast to her educated social status.
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From Folklore to The Land of the Living
Since the beginning of time, mythology and folklore have been used to give explanations to the unknown and preserve traditions.Candymanspends most of its first act building up the mythology behind the alleged monster that exists within Cabrini Green. Helen spends much of the time researching the legends surrounding his existence and talking with area residents who attest to his realism.
Candymanthrives on this, with the origin story not being depicted to the audience in a visual way but discussed by one of her colleagues. The description of Candyman’s origin is itself a form of oral tradition, a method by which myths and legends were passed down for multiple generations.
The emergence of Candyman from the legends and stories into the realms of reality solidifies Tony Todd as one of the most intimidating and captivating presences to ever grace the screen. His walk, accentuated by subtle movements and his jacket flowing in the wind, instantly takes the viewer back to some of thegreat portrayals of Dracula.
The hook that Candyman has in place of a hand is another aspect of folklore. There have been countless stories of lovers being interrupted by the appearance of a mysterious madman with a hook, most notably"The Hook" fromScary Stories to Tell in the Dark(Alvin Schwartz).Candymanmanages to bring the elements of Dracula and other facets from various sources to weave a rich tapestry while standing apart on its own.
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Funeral Pyres and An Enduring Legacy
A constant themethroughout gothic horroris the funeral pyre, lit by the villagers to exact revenge on the monster who has caused them terror and dread. The funeral pyre is well-known to horror fans, fromThe Wicker MantoThe Long Hair of Death. The inclusion of a funeral pyre inCandymanharkens back to those entries that combine retribution and folklore yet stand apart from them.
Rather than being lit upon an enormous wicker man or an effigy, the massive funeral pyre at the conclusion of Candyman is composed of garbage. The pyre, the ultimate symbol of retribution, is more than a fitting end to the mythology surroundingCandyman; it’sthe perfect way to set up a cinematic universe. Much like the Phoenix of mythology, Candyman will rise from the ashes and resurrect himself.
In the years sinceCandyman’s release, our affection for the hook-handed monster of Cabrini Green has only heightened. The monsters that grace the silver screen possess immortality that keeps our interest piqued, and for a brief moment in 1992, we saw the legacy of Dracula reborn in a new location that no one would have ever expected.
