Candyman

By Michelina Haralson

1992’s Candyman is an example of Coleman’s Black Horror film. This is shown through his definition stating “That is, they have an added narrative focus that calls attention to racial identity, in this case Blackness”. This is shown throughout the movie when referencing the stereotypes of the ghetto as well as those living in economically declined lives. Anne Marie is a stereotype that is shown as being a single working mother that references her difference from the “others”; “Blacks have been rendered deficient— childlike… [and] lower in economic standing”. Even the urban legend being studied by Helen and Bernadette is focused on how it stems from the African-American community. 

The film itself continues to be “a catalyst for evil, demonize” the African-American community in which where it takes place is surrounded by the urban legend. This in part is a way to metaphorically make the neighborhood a scary place by filling it with serial killers and ghost stories on top of the already present stereotypes and disadvantages presented in the film. The Candyman himself is a result of societal racism and fear as he was killed for falling in love with a white woman. The fact that he continues to be seen as something scary just progresses the societal racism further by teaching those who hear his story to be afraid of a black man.  

However, as Coleman describes there are also “devastating lessons in the turn of the twentieth century racial hierarchy and white supremacy” presented in the film. Helen angrily mentions how ridiculous it is that there’s a lack of action being taken in Cabrini Green until a white woman is attacked. 

Not only is racism approached but also the idea of sexism when it comes to the crazy woman. The film portrays Helen seemingly as a strong an empowered woman who is willing to go to all ends to finish her thesis. However, she’s seen throughout the film as extremely dependent on Trevor and his lack of reciprocal love. Whenever Helen is presented with a situation with an authoritative man figure she often falls silent and is unable to articulate her thoughts. As shown when first being interrogated. Not to mention Helen is only viewed as an object of desire and manipulation by the Candyman himself. Even her believed sacrifice to die is shown as her being weak and open to sexual interaction. Some castration anxiety is shown as the Candyman uses his hook to slide up her thighs and into her dress. Even at the end when Helen turns out to be the new vessel of evil for the urban legend it’s now the woman who is being demonized and seen in an evil light.