In the director Our DaCosta Candy man, The new generation of Chicagoans found themselves in the upscale Cabrini-Green, with little resemblance to the neighborhood. Bernard Rose’s 1992 movie of the same name——Still intimidated by the nominal Hooker’s Vengeful Soul.Most people know (to some extent) that saying the name of a ghoul in the mirror five times leads to terrible deaths, but even if the people in the new movie begin to die mysteriously, others cannot resist looking for themselves Out whether Urban legend It is true.
In the days since Candy manPremiere Top box office, Movie received A certain degree of praise Because it contains a strange interracial couple, they end up living to the end instead of being often killed or cruelly treated like queer in the whole horror. Although big budget projects like this are always interesting, it is important to remind the audience of the existence of queer, Candy manThe representatives of are worth reading more in-depth, especially considering the social commentary that integrates into the core premise of franchising. Although DaCosta’s film focuses on gallery director Brianna Cartwright (Teyonah Parris) and her artist boyfriend Anthony McCoy (Yahya Abdul-Mateen II), there are also many supporting actors who are caught in the latest horror wave, such as cloth Lianna (Brianna)’s younger brother Tony (Nathan Stewart Jarrett) and her boyfriend Grady Greenberg (Kyle Kaminsky).
Like its predecessors, DaCosta’s Candy man It tells the story of how the ghost of a black man who was murdered for having a relationship with a white woman appeared in modern Chicago, and Murder innocent people there Out of a twisted desire to keep his legacy alive. The devastating violence caused by the Candy Man, in a very clear way, is how the film’s painful trauma of anti-black racism reverberates over time and ultimately positively hurts people who do not fully understand the past.Different from the first Candy manTelling the story from the perspective of a white woman, she unknowingly became the same dark descendant she tried to understand. Da Costa’s films focused on the lives of blacks like Brianna and Anthony. One of the most promising things about this new story is that just as a film about black people and starring black actors, it is ready to revisit this story and tell more about how they struggled with the insidiousness of racism. . This movie does use the arcs of Anthony and Brianna to do this to some extent, but for Tony and Grady, this is not the case. They appear in a few scenes, jokingly making this A series of murders where the city is on the fringe.
In a movie about an aggrieved ghost who was murdered for his own interracial relationship, Tony and Grady immediately stand out in Candyman as the creative team’s way of weaving in a touch of the original movie for narrative symmetry that’s ripe with potential. In his various appearances, the Candyman’s stalked people he has direct familial connections with, but also those whose lives in some way mirror elements of his own—as is with the case with Anthony. It’s not hard to imagine a scenario in which, despite their both being men, the Candyman might see some of his own tragedy in Tony and Grady’s relationship—not necessarily because of any issues between them, but because of how hatred of interracial couplings were what lead to his demise. Instead, Tony and Grady really only exist around the periphery, and the movie spends little time giving them anything to do other than flirt with one another as if people around them aren’t dropping dead.
Grady and Tony aren’t unaware of the otherworldly strangeness pervading Cabrini-Green, but they move through Candyman with a subtextual assurance of their safety that feels at odds with the story’s other characters. The queer couple is no more thinly characterized than any of the other supporting players, but because their charmed relationship is the entire crux of their on-screen presence, it feels almost as if it’s being held up as a shield that protects them from harm. Though this vibe goes uncommented in the text of the film, it becomes increasingly apparent whenever Tony snips at Grady, who at one point considers calling on the Candyman.
In response, Tony explicitly states his opinion that Black people don’t need to be summoning that kind of stuff into their lives. It’s one of the few moments in the film where it feels like you’re seeing a flash of real people rather than a picture-perfect interracial couple crafted with the white gaze in mind. Beyond the default presumption of the audience’s whiteness, the white gaze can take a variety of forms in media like situating white people within narratives that shouldn’t necessarily be about them (see: La la land), or to downplay the ugly reality of racism in order to make white people feel better about themselves (see: The Falcon and the Winter Soldier). What these different forms have in common is how they cater to white audiences in ways that are not consistent with the information presented. In the case of Tony and Grady, both forms of white gaze feel present.
In the past few years, other terrorist projects such as It: Chapter Two, Lovecraft Country,as well as Fear Street All trilogy highlights queer characters with varying degrees of success. From these movies, the topic of how the horror genre failed queer audiences in the past and what new projects can do to improve the performance record of that genre has once again sparked discussion. A very important but necessary component of these conversations is the responsibility of horror creators to tell stories that better reflect the audience, and how they create these stories while navigating harmful metaphors.
Both It: Chapter Two with Lovecraft Country Their respective accounts of violence against queer people have received similar criticisms, and to some extent, it feels like Candy man Want to avoid any possibility of such a counterattack with Grady and Tony.What is often lost in these discussions is movie likes Candy man There is a daunting task, and that is to deal with the lack of solid queer representation of the larger classics.audience Expect queer characters to be killed unceremoniously Because it happens often, but when a movie tries to correct the course by leaving homosexuals unscathed, it’s hard not to treat them as being treated by the Pride™ version of children’s gloves.
Tony is right that black people do not need to show the ghost of a killer in their lives, but when the murderous spirit is at large, queer people should be as scared as their heterosexual peers. Threading needles like this have been and will continue to be tricky because progress is usually the way it is, but the fear of mistakes should not scare creators into making bolder decisions or preventing viewers from asking for more.
Candy man Now in the theater.
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