Taking The movie Candy man 1992. With reference to the opening scene Essay

Taking The movie Candy man 1992. With reference to the opening scene and at least one other scene from the film, discuss how the - Essay Example However, when the scene changed into an image of swarming bees with a terrifying, hollow voice in the background the meditative mood of the city changed into something threatening. Similarly, the scene where Helen Lyle is listening to the actual story of Candyman creates the same threat-- a threat that something very dreadful is approaching. The muffled screaming in the background, alongside menacing sound effects, adds to the terror of Candyman’s tragic story. Other film genres try to emotionally rouse viewers, but it is only the horror genre that rouses a certain and powerful emotional impact on the viewers. And although other film genres portray terrifying events, only horror films showcase the terrible, making terror its rationale. Horror never fails to discover a new frightening facade to reflect existing issues, unearthing the sinister facet to every desire, whether in a suburb or in deep space. A General Overview of the Symbols and Meanings in Candyman Candyman shows tr aditional horror and macabre premises: accompanied by a hounded female protagonist, the antagonist is a supernatural monster always hungry for a kill. Helen Lyle is an abused and emotionally tortured woman inflicting defensible vengeance, a demented murderer with a delusive second self. Thus the film establishes itself strongly and casually in a macabre ritual of horror. Common difficulties make the analysis of the film quite challenging. The finale, even though depicting brutal death for the enjoyment of the viewers, rejects the totally explicit moral pleasure of blameless ceremonial killing. Real and widely recognised scenery magnifies racial and social realities, interrupting the geographical dislocation normally obliged by the genre (Botting, 2001). Emphasising the combination of shock and inescapability, several film scholars sum up Candyman’s classic components: â€Å"knee-jerk shocks, stalking bogeyman, and touches of dark humour† (Botting, 2001, p. 140). They a lso noted that the film â€Å"locates the horrors in an identifiable and credible landscape of urban decay† (Botting, 2001, p. 140). Such juxtaposition upsets long-established beliefs and obscures analytic interpretation. As McCabe argues, â€Å"while it may be plausible to read Candyman as a complicated utopian fantasy of multicultural reproduction, it is also possible to read it as vicarious male desire for a black man who will finally give an uppity white girl what she’s been asking for† (Botting, 2008, pp. 66). Although the movie somewhat depicts social criticisms, especially as regards racial relations, the horror settles in the grisly entity of the black man and hence verifies racially prejudiced views of victimisation of white females and black sexual sadism. Where, traditionally, the issue of race embraces conflict, in Candyman the concept of race turns into a major manifestation of evil and when summoned, it erases all other options of gruesome characte r. Although the movie presents only a handful of constructive depictions of evil and appears to verify the most horrible fears of the white race in the black character that comes out, with vicious and brutal purpose, in the personal spaces of the home, the obstacles could be exaggerated (Botting, 2001). Candyman is not merely summoned by the white people; he also draws