Bernard Rose’s worthwhile horror movie Candyman (1992), adapted from a short story by Clive Barker, is an intriguing case of a film that set out to be one thing, but comes across in the finished product as having had entirely different intentions. The filmmakers had egalitarian motives, hoping to promote miscegenation and guilt over America’s structural inequality and lynch-mobbing legacy of hate; but Candyman is just as entertaining and resonant for race-realists as it is for dupes, inadvertently conveying hideous notions about congoids as well as about the white women who pursue them.
Candyman director Bernard Rose savors the proximity of the microphone.
The de rigueur horror movie prologue establishes both the mythos of the titular bogey and the sex appeal of the bad boy type, which will be more fully developed once the audience meets protagonist Helen (Virginia Madsen), a sheltered academic doing research into urban legends. Helen is…
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