Invoice Condon’s “Candyman: Farewell to the Flesh” (1995) succeeds differently from its predecessor, particularly how it’s in regards to the monster, not those investigating him.
The sequel, which arrived three years after the groundbreaking unique, is underestimated, stronger and extra flavorful than most bear in mind.
A homicide takes place not lengthy after the occasions of the primary movie. The loss of life proclaims that the city legend of the Candyman is alive and nicely, but in addition {that a} younger girl named Annie (Kelly Rowan, who later grew to become an everyday on “The O.C.”) shouldn’t be solely related however could even have household roots tied to the title character.
As all the time, a helpful mirror and chanting the Candyman’s identify is a way of both conjuring him, weaponizing his arrival or each.
Within the aftermath of the preliminary and doomed investigation into the life, loss of life and supernatural legacy of Daniel Robitaille, the “Candyman” (Tony Todd), Condon doesn’t rehash the unique as a lot as develop the scope and discover different views. Most importantly, Robitailles, who continues to be scary however a much more (dare I say it?) fleshed out and developed determine this time round.
Set in New Orleans, the backdrop is fully totally different from the Cabrini Inexperienced-based location of the primary movie. The colourful new setting is a welcome distinction, although I may have finished with out the onslaught of on-the-nose “Naw-lins” references like catfish, crawdads and gumbo.
A point out is made from Virginia Madsen’s character from the prior movie however not sufficient is made from this. A wiser movie would have introduced her again, handled the surprising nature of her character from the climax of the unique or each.
As an alternative, there’s a welcome reference, then the story rapidly strikes previous it. Solely Nia Di Costa’s terrific 2020 “Candyman,” each a franchise reset and a correct sequel, discovered a approach to incorporate Madsen right into a latter installment.
It took me some time to dig Philip Glass’ iconic rating, which I discovered jarring the primary time I noticed the unique. Now, I can’t think about the character with out it. As soon as once more, Glass provides a definite really feel of dread and reflection together with his recognizable compositions.
The movie’s soar scares strive too arduous, and the story spins its wheels, particularly when Rowan’s character attracts focus, which shouldn’t occur as usually because it does.
Rowan’s character is underwhelming however Todd, who makes Robitaille a romantic determine as a lot as a sinister one, brings a layered richness to his interpretation of a personality that in lesser palms may have simply been a mad slasher.
The movie’s finest, strongest sequence depicts how Robitaille was as soon as a human. We witness the ugly incident that in the end gave him the Candyman identify.
Primarily based on the Clive Barker quick story however not written by Barker (who wrote and directed the nice “Lord of Illusions” the identical 12 months this was launched), the story isn’t constantly compelling. As an alternative, we’ve a film of moments, although they’re great.
Along with the aforementioned sequence of the Candyman’s origin (it’s probably the most highly effective set piece in all the franchise), you could have each stolen scene by Veronica Cartwright. Contemplate a jewel of a second the place the movie’s most annoying character is tossed out of a police station window and the spectacular, all-stops-out grand finale, which presents an even bigger and extra satisfying end than the unique.
But, director Bernard Rose’s way more managed method to the unique and the style of Barker’s story being a thriller make the unique higher. However, whereas I underestimated “Candyman – Farewell to the Flesh” within the ’90s and nonetheless discover it uneven, it’s a riveting follow-up.
Condon went on to make the implausible “Gods and Monsters” (1998), but in addition received his first time with monsters proper with this one. The Candyman is extra Dracula and Phantom of the Opera than Freddy or Jason. He’s a ferocious killer and a spirit who lives within the mirror, however his story is tortured and suave.
That theatrical nature put him within the realm of Bela Lugosi.
What Todd does right here is exceptional. His ardour and dedication alone is sufficient to revisit this underrated second chapter.