Given the presence of the film by Bernard Rose on newsstands, attached to Mania Horror of April, I made a quick review, to encourage the purchase of that film who was still hesitant to make eye hook Candyman. Woe to you if you miss the opportunity, Marranos, you lose a horror that, in times like these, we dream of having.
Director: Bernard Rose
Cast: Virginia Madsen, Tony Todd, Xander Berkeley, Kasi Lemmons
Screenplay: Bernard Rose (from a story by Clive Barker)
Searches: Steve Golin, Sigurjon Sighvatsson, Alan Poul
Executive Producer: Clive Barker
Music: Philip Glass
Duration: 95 minuit
Production: Use
Year: 1992
The student Helen Lyle is aware of a terrifying local legend, that of Candyman, a monstrous serial killer fitted with a hook that appears when you say his name five times in front of a mirror. Helen makes such research, for his dissertation, going places where it is said that Candyman has appeared. But after ignoring the warnings of the locals, attends a chain of gruesome crimes. Is it possible that the legend is true?
The six Books of blood , the first literary resurgence of the visionary Clive Barker's Lord of Illusions, is a staple of the horror pantheon, an unparalleled sanctuary bloody fantastic fiction. From one of these minor stories in the anthology five ( Visions, in Italy), the forbidden , Bernard Rose took his camera camera, drenched in blood and ink to make the raids of the English writer in literary images dall'indubbio charm.
We acknowledge the director to have drafted a screenplay quite faithfully, but all things considered valid in terms of structural-film, with good atmospheric moments and dream recall carefully measured. However, inevitably, the script takes its easy skidding, found in the dialogues sometimes not very incisive and unintentionally ridiculous excursions that bring the milk in the knees.
Not bad.
Errors are displaced by a directed simple but effective, which has its moments of great visual quality, thanks to the delirious ramblings that well filmed envelop the feelings of the two main actors, who try to steal one screen to another.
It raises a huge thumbs up to the gore factor, which we value so much degenerate maniacs. Candyman In fact, the department hemoglobin is plentiful and tasty, with a vast and unexpected bloodshed. In this
morbid universe, full of subtle references, but also social impulses of genuine supernatural, the beautiful Virginia Madsen offers a trial class, heartfelt and moving, reaching peaks of delicate poetry in dream sequences, rich in meaning as a tear ran down his cheek . Tony Todd, however, signs the birth of a new myth of horror, the cultured defender of the oppressed, the diversion of Captain Hook filmography guts dripping, playing in an elegant and professionally tortured Candyman. Rather drab the rest of the cast, despite the best facial expressions of a Xander Berkeley today, after fifteen years, appears not to be aged a single day.
Of note, but with a lot of trumpet sound, deserved the extraordinary soundtrack by Philip Glass, a musical masterpiece, built only on piano, organ and choral voices, that fit into a sublime maelstrom of unrest in the main theme, one of the peaks sound not only of extreme cinema, but the entire world of celluloid.
Removed some dead or ridiculous, which could be easily removed in post production (unintentionally comic scene dell'imbiancatura, a psychological digression of actors at times a bit confused and uncertain), Rose has made a good translation of an discrete story, and today would be a good thing that young filmmakers who are trying to depopulate, gave a look of spontaneity agonizing horror of a few years ago, including Candyman.
Director: Bernard Rose Cast: Virginia Madsen, Tony Todd, Xander Berkeley, Kasi Lemmons
Screenplay: Bernard Rose (from a story by Clive Barker)
Searches: Steve Golin, Sigurjon Sighvatsson, Alan Poul
Executive Producer: Clive Barker
Music: Philip Glass
Duration: 95 minuit
Production: Use
Year: 1992
The student Helen Lyle is aware of a terrifying local legend, that of Candyman, a monstrous serial killer fitted with a hook that appears when you say his name five times in front of a mirror. Helen makes such research, for his dissertation, going places where it is said that Candyman has appeared. But after ignoring the warnings of the locals, attends a chain of gruesome crimes. Is it possible that the legend is true?
The six Books of blood , the first literary resurgence of the visionary Clive Barker's Lord of Illusions, is a staple of the horror pantheon, an unparalleled sanctuary bloody fantastic fiction. From one of these minor stories in the anthology five ( Visions, in Italy), the forbidden , Bernard Rose took his camera camera, drenched in blood and ink to make the raids of the English writer in literary images dall'indubbio charm.
We acknowledge the director to have drafted a screenplay quite faithfully, but all things considered valid in terms of structural-film, with good atmospheric moments and dream recall carefully measured. However, inevitably, the script takes its easy skidding, found in the dialogues sometimes not very incisive and unintentionally ridiculous excursions that bring the milk in the knees.
Not bad.
Errors are displaced by a directed simple but effective, which has its moments of great visual quality, thanks to the delirious ramblings that well filmed envelop the feelings of the two main actors, who try to steal one screen to another.
It raises a huge thumbs up to the gore factor, which we value so much degenerate maniacs. Candyman In fact, the department hemoglobin is plentiful and tasty, with a vast and unexpected bloodshed. In this
morbid universe, full of subtle references, but also social impulses of genuine supernatural, the beautiful Virginia Madsen offers a trial class, heartfelt and moving, reaching peaks of delicate poetry in dream sequences, rich in meaning as a tear ran down his cheek . Tony Todd, however, signs the birth of a new myth of horror, the cultured defender of the oppressed, the diversion of Captain Hook filmography guts dripping, playing in an elegant and professionally tortured Candyman. Rather drab the rest of the cast, despite the best facial expressions of a Xander Berkeley today, after fifteen years, appears not to be aged a single day.
Of note, but with a lot of trumpet sound, deserved the extraordinary soundtrack by Philip Glass, a musical masterpiece, built only on piano, organ and choral voices, that fit into a sublime maelstrom of unrest in the main theme, one of the peaks sound not only of extreme cinema, but the entire world of celluloid.
Removed some dead or ridiculous, which could be easily removed in post production (unintentionally comic scene dell'imbiancatura, a psychological digression of actors at times a bit confused and uncertain), Rose has made a good translation of an discrete story, and today would be a good thing that young filmmakers who are trying to depopulate, gave a look of spontaneity agonizing horror of a few years ago, including Candyman.
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