Candyman’s Return-Chicago Magazine – Illinois News Today

Candyman’s Return-Chicago Magazine – Illinois News Today

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This story was originally published in the September 2020 issue. CandymanTheatrical release was rescheduled in 2021 for a pandemic.The movie will be released in theaters on August 27th..

MeIn the suburbs of Illinois, where I spent my childhood, my dad’s cousin owned a movie rental shop called Video Vision. If I cycled two miles back and forth, I had a cult blanche to rent titles other than those on the shelves behind the saloon-style doors leading to the adult-only section. By the time I entered fifth grade, in the early 90’s I was in love with Chicago via VHS tapes. The blues brothers, Dangerous business, Feliz suddenly one morning — These films made the big city 100 miles east of my little hometown look like a place of immense thrills and cartoon misery.

Candyman It was completely different, heavier and more mysterious. British director Bernard Rose’s 1992 cult classic, which produced two sequels and a durable urban legend, adopted the hook early on for me and never let it go. A movie about the ghosts of old Lynch victims who terrorized Cabrini-Green’s housing project with a very sharp prosthesis, nightmarish portraits of city life, fascinating puzzles of false identities, and exploration. Rare slasher flicks were inequality with American race. The year the film was released, Chicago violence culminated in horrific terms. 943 murders and the highest per capita murder rate in Chicago’s history. The Chicago Housing Authority’s dilapidated project has become the ultimate symbol of American “city center” dysfunction, a source of unidentified fear and delusions about crime and poverty issues. And Cabrini Green was a poster child. The tower approaches Rose’s movie like many haunted houses just across the Gold Coast.

Jordan Peele, the first time I heard the horror alter behind Get outWhen WeWhen I was resurrection of Candyman in the form of a “spiritual sequel,” my charm awakened again, and I was suddenly forced to dig deeper into the strange origins of the original film.

To confront the real horror behind Candyman , I knew I had to talk to Steve Bozilla. A 66-year-old veteran journalist has addressed race and poverty. Chicago ReaderFrom 1981 to 2016 (including during his tenure as a substitute for the Weekly Editor).in the meantime Candyman According to credits, Rose wrote the script based on Clive Barker’s short story “The Forbidden.” Influencing Candyman’s frequent modes, the most memorable detail in the film, was Boguila’s report of a chilling murder in one of the city’s housing projects. Entry, bathroom mirror.

The bizarre crime that Bozilla detailed was fatal to an intruder in April 1987 when Grace Abbott Holmes resident Lucy May McCoy entered an apartment on the 11th floor through an opening behind a bathroom cabinet. It occurred when I was hit by a typical shooting. Police blotter items on the incident were intrigued by Bozilla, and he began reporting on the incident. He spoke to a janitor in McCoy’s building, took him to a woman’s residence and introduced him to his neighbor. Bozilla discovered that a criminal in a high-rise building on the near west side had been exploiting a building defect for at least a year to break from apartment to apartment through a narrow cavity between medicine shelves. was. “Not only is this a nightmare and unrealistic crime that happened to Lucy May, but the idea that these inhabitants lived with this particular horror and no one was doing anything about it. I was impressed. “

Further exacerbating the fear was the fact that McCoy’s cry for help was basically unanswered. She dialed 911 and reported that the invasion was in progress. The two neighbors also called for independent reports of gunshots. It took about 30 minutes for the police to arrive. No one answered when he knocked on McCoy’s locked door. The admin tried a key that didn’t work. In the end, the officers left without entering. Almost two days later, CHA officials found McCoy’s corpse disassembled on the bedroom floor.

Shortly after Bozilla’s 10,000-word feature “They Come in Through the Bathroom Mirror” was published reader In September 1987 he received a call from John Malkovich.The actor was reading the story while in town starring in the production of a new play at the time by Lanford Wilson at the Steppenwolf Theater. Burn thisAt the Royal George Theater. Markovich believed that the article had cinematic qualities. At a bar near the theater, Markovich sat down with Bozilla to make a pitch.

“He was really interested in talking about the project’s residents and how difficult their lives were,” Bosila recalls. There was only one problem. Markovich said the film’s protagonist needs to be a white reporter who leads viewers to the world of Chicago projects in order to raise money for production. “I immediately informed him that I was uncomfortable with the idea,” says Caucasian Bozilla. “That’s right,” Bosila remembers Markovich answering. “Ideally, the protagonist should be an actor who portrays a resident of the Black Project, but you’re not going to find anyone to fund that kind of movie.” Markovich said he would measure interest among Hollywood producers. The reporter has never heard from the actor again. (My attempt to contact Markovich to verify Bozilla’s account was unsuccessful.)

Tony Todd as a supernatural murderer bearing the name of Bernard Rose’s 1992 movie.

1993, a few months later Candyman Release, editor of reader He told Bozilla that he had observed some striking similarities between the film and reports of Bozilla’s Lucy May McCoy murder. In the film, Helen Lyle (Virginia Madsen), a graduate student at the University of Illinois at Chicago, was cruel by a perpetrator who came from the drug rack to Cabrini-Green resident Lucy Jean from the university’s caretaker. I heard you were killed. Helen interviews the victim’s neighbor, Anne-Marie McCoy.

“It was a surprise to me that they haven’t changed much,” Bozilla said of the film. Still, he did not suffer great disappointment when he saw his contributions untrustworthy. “What I was talking to with Markovich seemed to work. The movie was made and the whites were at the forefront.”

Since then, Bozilla has assumed that the meeting with Markovich somehow infused the story of Chicago’s drug rack murder into Hollywood’s bloodstream.However Candyman Creator Bernard Rose told me another story.

In 1990, Rose Candyman The concept of propaganda film, a risk-taking production company that funded David Lynch Twin PeaksWhen wild at Heart .. He wrote the first draft of the script and transferred the actions of Barker’s story from Liverpool Public Housing to a Chicago project. “I’ve been to Chicago several times, but I wasn’t particularly familiar with Chicago,” he says. “Before writing the next draft, I asked him to go there, do some proper research, and actually get to know the city.”

When he arrived in July 1990, Rose and Illinois filmmakers toured Cabrini-Green and Robert Taylor Holmes with police escorts. “The levels of fear and anxiety around these places from the people on the Film Commission and the cops I found were really shocking,” Rose recalls. Later in the trip, he returned unaccompanied and had a supper with a CHA resident. “When the door closed, it was just an apartment,” he says. The two encounters provided information about the cinematic ideas about the bay that could form between perception and reality, and how that disconnection could lead to prejudice.

While in town, Rose got a copy of the July 12th edition readerA follow-up to Bozilla’s 1987 research article happened to appear. The feature, entitled “Cause of Death,” asked the question, “What killed Lucy May McCoy? A chest bullet, or life on a project?”

“Wow, there are some coincidences here!” Rose soliloquy after reading about McCoy’s murder. “I have to put it in the movie.” Properly, in Candyman , Helen pierces a newspaper microfilm and encounters a fictional story Dispatch to Chicago “Cause of death, what killed Lucy Jean? Life on the project.”

Later, when Candyman During pre-production, Bozilla received a vague letter asking him to consult with a film filmed on a Chicago project. “They provided me with pocketchanges and screen credits,” he says. Send me the “I answered.” Script. If it is not exploitative, I will consider helping you. He never replied. (Rose says he had no knowledge of communications.)

Bozilla himself is not a horror buff and does not ponder too much CandymanOver the years. “The reality of the Chicago city was so terrible that I didn’t think about urban legends,” he says. “I didn’t have to make things to talk about something with a lot of horror. This was a real life for those who lived in high-rise public housing.” Ben Austin, author of When talking to High riser In Cabrini-Green’s 2018 history, he pointed out that it was just such a “confusion of reality and imagination” that made Candyman higher than the typical horror fare. Public imagination.

October 13, 1992, 3 days ago Candyman The gunman, premiered at the theater, sat down in a skyscraper in Cabrini and killed Dantrel Davis when his seven-year-old mother walked 30 yards from the project building to the elementary school she attended. The killings became a hot topic nationwide, causing widespread anger and paving the way for CHA’s transformation plan, which provided for the systematic demolition of Chicago’s high-rise public housing. The last Cabrini Green Tower was demolished in 2011. Currently, there are market-priced condos nearby and an indoor skydiving center.

This is a new place CandymanA sequel written by Peel and Nia DaCosta will be featured. The protagonist of the film is a black millennial artist named Anthony McCoy (Yahya Abdul Matine II), who lives in one of these lofty condos. Through a chance encounter with the sparsely occupied Cabrini Nagaya inhabitants, the last trace of the project’s building, Anthony hears about Candyman and introduces folklore to his artistic practice. Urban legends depend on a kind of collective belief.

As a result, the Cabrini-Green Tower may be gone, but the legends they planted have proven difficult to kill.

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