Salem, Massachusetts brews up more Halloween activities than you can shake a broom at each October, so it was logical for Salem Horror Fest to take place during the spookiest month of the year. For its sixth installment, however, the festivities have moved to the spring, making it much easier to attend without throngs of tourists.
If last night’s opening night ceremony — headlined by a screening of Candyman with Tony Todd in attendance — is any indication, horror lovers will show up any time of the year. Held at the Peabody Essex Museum, the event kicked off with poignagnt opening remarks by festival director Kay Lynch. She briefly outlined the evolution of Salem Horror, which was born out of her desire for catharsis after the 2016 election. (“After all, what good is having a voice if you can’t scream?”)
With folk horror being a common theme among some of this year’s programming, Kier-La Janisse was enlisted to deliver a keynote address. Much like how her essential documentary, Woodlands Dark & Days Bewitched: A History of Folk Horror — which is screening as part of the festival — opened my mind to a broader perspective on folk horror, so too did her insightful speech. She noted how the subgenre became a particular interest to people during the pandemic as traditional support systems were stripped away, and she even made a compelling argument for Candyman to be considered as folk horror.
Janisse defined two branches of folk horror, distinguished by the source of the fear. In many parts of the world, the horror stems from a supernatural source outside of the community, wherein their beliefs give them the tools to survive. In the British tradition that is most commonly associated with folk horror, however, the source of the fear is the people and their sense of belief. As such, it can be a tool for exploring the perils of bigotry or it can have the adverse effect by perpetuating xenophobia.
Lynch returned to announce this year’s Jury Award winners. With 600 submissions, the festival’s official selections include 20 features and 37 shorts. Danny Dunlop’s Wolves was awarded best feature, while Sean Wainsteim’s Demon Box won best short. She also announced the winners of the Romero Fellowship, in partnership with the George A. Romero Foundation: The Ones You Didn’t Burn by Elise Finnerty, Stag by Alexandra Spieth, Maya by K/XI, and Dead End by Dima Barch. They’ll be mentored by filmmakers Carter Smith (The Ruins), Lucky McKee (May), Travis Stevens (Girl on the Third Floor), and Jenn Wexler (The Ranger).
Romero’s widow, Suzanne Desrocher-Romero, then took the stage to give an overview of her journey to founding the George A. Romero Foundation. Before his passing, the master of horror told his wife that he didn’t think anyone really cared about his work. Haunted by the response, she set out to prove him wrong with GARF. Her duties as president are two-fold: to keep Romero’s legacy flourishing and to help independent filmmakers. Her admission of not being much of a horror fan earned chuckles from the crowd, but her love of film is as apparent as her love for Romero.
Finally, Todd took the stage alongside Rue Morgue magazine editor Andrea Subissati for an entertaining and informative pre-screening Q&A. He traced his affection for acting back to a high school English teacher who introduced him to William Shakespeare’s The Tempest. “It was like a light bulb went off. From that moment on, I knew that my whole life would be dedicated to portraying deep, enriched characters and representing my people that didn’t come along with me or were stuck in a groove. So it’s not just me sitting up here; it’s everybody I ever knew.”
Todd remains passionate about the craft of acting and still makes the time to do one play every year. They hit on many of horror icon’s major roles — The Crow, Night of the Living Dead, Star Trek, Platoon, Final Destination, and of course Candyman — but it was also refreshing to hear him wax poetic about other topics, ranging from proverbs and social media to cats and antiquing. Kudos to Todd for being open to do so and to Subissati for facilitating it. Before Candyman started, the star teased, “I think you’ll see more of him sooner than later.”
Candyman stands the test of time as not only one of the best horror movies of the 1990s but also one of the decade’s most important films. Writer-director Bernard Rose brilliantly transposes Clive Barker’s short story “The Forbidden” — first published in 1985’s Books of Blood: Volume 5 — onto the screen. Despite it being the first screenplay he ever wrote (!), Rose cleverly reinvents the Bloody Mary urban legend with a dash of The Hook for good measure.
Released at a time of social unrest a mere months after the Rodney King riots in 1992, it’s impossible to discuss Candyman without addressing its racial themes. By changing the titular antagonist from a white guy in the slums of Liverpool to a former slave in urban Chicago, Rose created a rare Black horror icon. Like many of the most impactful monsters, the character is rooted in tragedy, which Todd carries with him with his usual gravitas.
Helen Lyle (Virginia Madsen), a graduate student working on her thesis in urban legends, learns about Candyman (Todd), a vengeful spirit that is said to kill anyone who says his name five times in front of a mirror. Candyman’s singular introduction, which doesn’t occur until 45 minutes into the 101-minute movie, is almost perfunctory — a wide shot in a parking garage, backlit by daylight — yet carries undeniable weight.
Despite having less than 10 minutes of total screen time, Candyman’s presence is felt throughout. He shares a seductive magnetism with Helen, who is otherwise presented as virtually androgynous. Madsen delivers one of the most vulnerable horror protagonist performances of the era, even undergoing hypnosis for certain shots to achieve a glassy-eyed, vacant state.
Director of photography Anthony B. Richmond (Legally Blonde, Don’t Look Now) gives the film something of a neo-gothic atmosphere, with the notorious, graffiti-laden Cabrini-Green projects in place of a haunted castle. The influential Philip Glass’ (The Illusionist, Koyaanisqatsi) score, consisting of choral voices, organ, and piano, is used sparingly but effectively. Bob Keen (Hellraiser, Highlander) crafts the special effects.
Salem Horror Fest runs April 21-23 and April 28-30. In addition to the aforementioned titles, official selections include The Forest Hills, Bury the Bride, Saint Drogo, Brightwood, Pendulum, T Blockers, Satan Wants You, and more, plus repertory programming like The Fog, The Blair Witch Project, The Hitcher, Fright Night Part 2, and The Blood on Satan’s Claw, among others.
Celebrity guests include a Fright Night reunion with William Ragsdale, Stephen Geoffreys, and Amanda Bearse; Night of the Demons stars Linnea Quigley and Amelia Kinkade, and Demons favorite Geretta Geretta. There will also be live podcasts from The Faculty of Horror and Bloody Disgusting’s Horror Queers, short film blocks, lectures, after parties, and more, all in a welcoming, inclusive environment.
Learn more at SalemHorror.com.
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