Candyman - Taji Mag

The Candyman Victims

In the first two candyman films, the victims were plenty and there was no discrimination. Candyman was carving up more people than a butcher on meat special Sunday. The 2021 film’s victims were all white and represented some of the stereotypical racists the Twitterverse has made famous of late, starting off with the arrogant art dealer and his girlfriend. This scene was artfully done as they could not see Candyman firsthand, but could only see his reflection (this visual occurs throughout the film). As Candyman is about to murder the art dealer, he slices through a projection screen showing Black people being violently attacked in the 50s during a protest; clearly, he is done with the historical injustice and ready for blood. Not only that, but the different parts of the art space flash red, white, and blue which could represent the American flag or police lights as the victims are being slain.

The rude and arrogant art critic was the next one to go after. She had me pissed after telling Anthony, a budding artist portrayed by Yahya Abdul-Mateen II, about “his kind” ruining neighborhoods, an insult not only to him but also to his work. She said “artist” but the audience knows she meant “Black artist”. Before the art critic’s demise, Da Costa visually deceives the audience with the usage of reflections, mirrors, and camera angles. As Anthony walks the hall of the art critic’s home, he sees the reflection of Candyman and even sees Candyman mimicking his movement. This is preparing the artist to follow his destiny to become Candyman and it also shows that he, too, could be a victim.

The teenage girls getting slaughtered in the bathroom scene was very reminiscent of today’s social media culture. Those girls did not give a damn what was going on and wanted to play the Candyman game. Their Asian friend fleeing the bathroom before saying Candyman for the fifth time had the audience cracking up because she obviously knew what was up and did not want that smoke. This murder scene in the bathroom was interesting. Seeing the girls pulled, cut, and lifted by Candyman’s hook without anyone actually seeing him was crazy. Great camera-work and editing made the invisible antagonist even scarier.

Side Note: Why didn’t anyone acknowledge that Anothony’s hand looked like a prop from a zombie apocalypse movie? Eventually, Brianna said something, but damn his hand looked disgusting after the bee stung him. Could he get some Neosporin or something?

Candyman — Teyonah Parris as Breanna Cartwright

Candymen

I am not sure if the Brianna character’s name was inspired by Breonna Taylor, but I am going to assume that it was. To see her character go through so much and to witness the police bust into the row house and kill Anthony was definitely triggering. Nia De Costa did an awesome job hiding Anthony’s body from the camera’s view, creating a moment where the audience is not sure if the police shot Anthony or if they shot Brianna. That moment reminded me of the tragic story of Breonna Taylor and how her boyfriend, Kenneth Walker, felt while holding her.

The sequel tie-ins and legend of Candyman were also well written and showed that there were others who carried on the Candyman spirit. The way each was killed was much like how many innocent Black men and women have been killed. As Anthony, the final Candyman, walks around the police car showing the faces of the various Candymen, I could see the victims Breonna Taylor, George Floyd, Atatianna Jefferson, Philando Castile, Saundra Bland, etc.

The stories told via shadow puppets were a great idea. It gave creepy vibes but played on the idea of how many of us used to tell campfire stories and use shadow puppets for effect. It made me think of the television show “Are You Afraid of the Dark?”.

Colman Domingo as William Burke reading Clive Barker’s Weaveworld.
Clive Barker wrote ” The Forbidden” the story in which Candyman is based.

Was Will Right?

As crazy as Will Burke, the Laundromat owner in Cabrini Green, was I would have to say he had a compelling reason for bringing the Candyman to life. The gentrification of the neighborhood as well as the police ignoring and killing people would drive a person to take extreme actions. It’s akin to when people ask, “Why are the neighborhood folk destroying their own neighborhood” after the wrongful death of a Black person by a police officer. It’s for the same reason. People get tired of feeling powerless, oppressed, and ignored. In this case, Will had seen enough injustice and wanted to give the Candyman all the blood he could possibly want in the form of justice for his people. Although, I must say he was crazy for kidnapping Brianna and for sawing off Anthony’s hand. Jesus, that was gruesome! Made me cringe!

“Say His Name!”

The film ends with a cameo of the original Candyman, Daniel Robitaille (Tony Todd), asking Brianna to “Tell Everyone”. This resembles the “Say Their Names” culture in which we live where we consciously recognize all the victims of hate crimes, police brutality, etc. Candyman exacting his revenge by killing the cops who took his life along with the one who tried to intimidate Brianna into telling a false story is seen as a sort of redemption for Black people, a story of vengeance I’m sure many people of color could appreciate. The idea of turning a horror icon into a spirit of vengeance was a great idea and I am not surprised the three writers came up with the idea to do so. Is Candyman worth watching? I’d say yes! Saying Candyman five times in the mirror? Hell no!

Harriet director Kasi Lemmons and actress Cynthia Erivo (Photo courtesy of Focus Features)

This year, director and writer, Kasi Lemmons, will bring one of the most heroic and inspiring Black woman figures to the screen, Harriet Tubman. The film, Harriet, stars Cynthia Erivo, Leslie Odom Jr,. and Jonelle Monae. It is a biopic about the life of Harriet Tubman from her first escape to freedom to being the conductor of the Underground Railroad. The film premiere was held on Oct. 22, 2019 in Washington, D.C. at the Smithsonian African American Musem. Taji Mag was able to speak with the director, Kasi Lemmons, about her creative process and development of the film.

Dapper Dr Feel (DDF): What was the importance of making this film and will this film impact the future of storytelling from the perspective of Black people?

Kasi Lemmons ( KL): As filmmakers, we always ask ourselves, what are the great characters? I write from the characters all the time. Harriet Tubman was one of the greatest figures who has lived. So for me, the fact that no feature film has ever been made about Harriet and she is just such an important person for Americans, especially African American women… This hero needs to be brought to the world, a hero to me on the level of Mother Teresa and Gandhi. She’s a real superhero.

In terms of our future as storytellers, the more we can tell compelling stories that people relate to, the better. There are so many women directors right now and there are so many stories to tell, it’s always been a matter of is the industry ready to accept these stories. Now we are in a period where we can have a Black person as the lead and hero in a movie and bring characters like Harriet to the screen.

(Photo courtesy of Focus Features)

(DDF): What makes this film different from the other films that are about Black slavery?

(KL): Harriet, to me, has always been a story about freedom. If I were to ask you to tell me the story of Harriet Tubman, you would say that she escaped from slavery and then she went back to liberate others. To me, those were like the verbs, that is the Harriet Tubman story.

(DDF): What was your reaction when you found out that you were doing this film?

(KL): My heart started racing, they just kind of sprung it on me and I didn’t have time to think about it, which was good in a way because I went to a meeting and the producer said it in the room. They surprised me because I thought I was just going to a general meeting. I was able to check my pulse to measure my own reaction and, as I am experiencing it, I am thinking, “your heart is really racing, I think you are very interested in this!”

(DDF): You have mentioned in one of your articles that this feeling of excitement is like falling in love. Can you explain?

(KL): Find a good film to work on is always like falling in love to me. There’s always a process of courtship; you’re getting to be friends and then all a sudden you fall in love. With this film, I was really intrigued by it from the very beginning. The love started in my research; she is an incredible presence in my life.

Lemmons with her husband Vondie Curtis Hall and son. (Photo courtesy of Focus Features)

(DDF): What was your approach to creating the premonition scenes that Harriet experienced?

(KL): I went through a lot of stages with it, then boiled it down to its most simple form, because I felt like they were like flashes of inspiration. They took many different forms, she had dreams, trances, sometimes just flashes of premonitions, and seizures. So I started to think about what seizures felt like and tried to make a shocking type of image.

(DDF): You did some very creative things to create the premonition scene with the various colors used. How did that come about?

(KL): When I looked up seizures and really tried to read people’s experiences of what seizures looked like to them, I would find the word monochromatic over and over again. I thought that is what I was trying to make it look like.

(DDF): “What is a man to with a woman touched by God” is a line in the script that stood out to me. How did you come up with it?

(KL): It’s interesting, that is a scene that I wrote the night before we shot it. The producers and executive producers at Focus Features, wanted me to try and describe what it felt like to Harriet after her husband re-married. So we imagined a scene with Marie where she would tell her what it felt like to her. I put off writing it because it was a hurdle to me – how do you write what God feels like? Then I started to explore what it would it feel like to Harriet, I wrote it the night before the shoot and they (Cynthia Erivo and Janelle Monáe) did it in two takes.

Janelle Monáe as Marie Buchanon. (Photo courtesy of Focus Features)

(DDF): In the film, we see the evolution of the heroic woman icon, how did you go about the character development from Minty to Harriet?

(KS): There is a huge arc that we felt in her character, she almost becomes different people. From an ordinary woman into this almost mythic side of herself, she names herself and she is apart of that. So we named them, Minty, Harriet, and Moses. Everybody participated in the character development; Me, Cynthia, and costume designer, Paul Tazewell. We created her and it was a group effort to give you that arc. From Minty and her dress to when she becomes Harriet in her mission costume, it’s a big arc.

(DDF): What advice would you give to your younger self at the time you made Eve’s Bayou?

(KL): In some ways, I don’t know if I would give myself any advice. Now, where I am in life, I like the way that things unfolded. Take for instance, after I made Eve’s Bayou, I didn’t know if I was going to make another movie but that was a wonderful thing to think at that moment because I was going for broke. So I put everything into it. I’ve had ups and downs in my career. If I could talk myself through those, I would tell myself that you are going to have ups and downs but if you keep going, you get to travel the world, you’ll meet extraordinary people, you’ll work with some of the most talented people and you’ll have a great time.

(DDF): You are also doing a CJ Madam Walker series, what brought you to do that project?

(KL): I have been infatuated with Madam CJ Walker for 20 years. Literally 20 years ago, I was thinking, “You know, it would be dope if we did something about Madam CJ Walker!” So when that came about, I was super excited about being involved in it. Then, Octavia Spencer, she’s perfect for the role. It’s a story that has been interesting for a long time, she is the first self-made Black woman millionaire and you know hair is so special to us black women, we’ve got our own thing. I had a really good time working it.

Kasi Lemmons on set. (Photo courtesy of Focus Features)

(DDF): Do you hope to bring more important black women figures to film or tv? Any ideas?

(KL): Oh, I am sure I will do more films about important Black women figures. Do I have any in mind…maybe? (laughs)

(DDF): You were in the horror films Candyman and Silence of the Lambs. Have you had any input or help in the development of the new Candyman film?

(KL): I have contributed to Candyman already in that I mentor the director for the film, Nia DaCosta, since her first Sundance film. She’s great!

(DDF): Will you make your own horror film?

(KL): There is something that I have in mind but I have to be careful because I am extremely sensitive. I have to protect my energy a lot and be careful of what I bring into my life. When I bring in truth, beauty, and righteousness, it’s a good feeling, so I am afraid and that’s the truth.

The film Harriet was a great film with a lot of exploration of the characters’ bravery, selflessness, spiritually, and intelligence. It stands out as a story about the perseverance of the human spirit against discrimination. Creatively, it is a departure from the usual ‘slave cry’ moments that have become rhetoric in most of the blockbuster slave themed movies and I am thankful for that. Go see Harriet November 1st.