Our
little noirish potboiler of kidnapping,
seedy characters, and double-crosses
wastes little time to get up to speed as
we open on three hoodlums in a VW microbus
trailing a young girl on the sly. And when
the girl, sixteen year old Candy (Susan
Sennet), sticks her thumb out for a
lift, the van stops, but their intentions
are far from samaritan in nature. Before
she can react, the girl is yanked inside,
blindfolded, bound and gagged, then driven
to a remote spot and buried alive in a
shallow grave. But before
the kidnappers leave, one of the hoodlums
tells the girl through the air tube to
relax, because if her old man comes
through with the ransom, she'll be home in
time for supper. With
that, the three kidnappers -- Jessie (Tiffany
Bolling), her hot-headed brother,
Alan (Brad David), and the
husky Eddie (Vince Martorano),
-- all pile back into the van and leave to
deliver the ransom note to Candy's father.
They're
kind of like The
Mod Squad
-- if Link were a sweaty, doughy,
middle-aged white guy.
Avery
(Ben
Piazza), the man they seek, works
for an upscale jewelry store. And as Eddie
runs interference for Alan to hide the ransom
note, Jessie, the obvious
ringleader, makes the call from a nearby
phone booth. She tells Avery where to find
the envelope, and if he ever wants to see
his daughter alive again, to follow their
instructions, including, of course, no
police interference. Now, the
ransom for Candy's safe return is every
diamond in the store to be delivered to a
specific drop-off spot. Still inside the
store, Eddie watches as Avery, who is
visibly shaken by this turn of events,
finds the note. But he recovers quickly,
then closes up the shop and sends all his
help home early. Returning to the van,
Eddie happily reports that their
kidnapping caper is going off like a Greek
watch. (What
does that even mean? Does that mean it's
going well..?)
And
then, pretty much after that, everything
all goes to hell...
Mostly
known for his writing for the small
screen, Guerdon Trueblood was the credited
screenwriter for Sole
Survivor,
which most people purport to be the first
ever movie made specifically for
television. This supernatural tale of
ghosts that haunt the old wreck of a World
War II vintage bomber is pretty good, and
after that, Trueblood got killer insects
on the brain, churning out scripts for The
Savage Bees,
The Return
of the Savage Bees,
Tarantulas:
The Deadly Cargo,
and It
Happened at Lakewood Matter
-- where "it" happened to be the
invasion of a colony of angry ants. In
between all of that, Trueblood made his
directorial debut with The
Candy Snatchers,
an unrelentingly bleak morality play. With
a tight script from Bryan Gindoff (--
who also penned Hard
Times,
my all time favorite Charles Bronson
movie),
Trueblood delivers a tale that betrays his
extensive background in network TV. And
that's what the movie reminds me of: one
of those old, hard nose detective shows
from the '70s like Baretta
or Kojak,
or better yet, a skeevey episode of Starsky
& Hutch
gone horribly, horribly wrong. And from what
we've seen so far, that's exactly how the
movie is playing out: a by the numbers
police drama, but the film is about to
take a startling left turn on us. Several
of them, actually. And things do go
wrong, all around, in very disturbing ways
that I'll be getting in to as the review
progresses.
So
fair warning -- there be spoilers ahead.
Big ones.
From
the hideous theme song "Money
is the Root of all Happiness"
that'll bore into your brain like a
Ceti eel to be replayed again and again, to the gonzo dialogue, to the brutal
treatment of it's namesake character, I
honestly can't recall a movie that was
more wrong on so many levels than this
thing. It's a vintage piece of '70s sleaze
and unflinching violence, to be sure, that
would never, ever, not even in a million
years, get made today. Every character and
scene basically grinds up in its own gears
until there's nothing left standing. And
just when you think it can't get any worse
-- it does!
Yes,
the kidnappers' meticulous plan appears to
be going off without a hitch, but there
were two factors that they weren't
prepared for:
The
first is the unexpected presence of Sean
Newton, an autistic child who also appears
to be mute. Sean (played
by Trueblood's own son Christopher)
plays around the area where Candy is
buried. In fact, he watched them do it;
but he doesn't quite grasp what's going
on, and inadvertently tortures the victim
further by dropping peanuts down the air
shaft (-- when he's not plugging it up
with his hand!) When the boy hears
his harpy of a mother (Bonnie
Bolland) calling for him, upon his
return home, she gives Sean a whipping for
running off -- before chucking him via
airmail into the bathtub. (Wow.)
The
second, and more dastardly turn of events
happens when Avery, instead of heading for
the ransom drop, goes home to find his
lush of wife, Katherine (Dolores
Dorn), already in her cups. Mixing
her another stiff cocktail, he then lies,
saying Candy is spending the night with
some friends, and then Avery, the weasel,
takes the stolen diamonds to his mistress (Phyllis
Major), gives them to her as a
present(!), and they both hop in the sack
for a little nookie(!!).
Meanwhile,
the kidnappers, fearing that Avery isn't
taking them seriously when he doesn't
show, dig Candy up. Warning the girl that
the only thing keeping her alive is the
blindfold, they take her to their hideout,
an abandoned house only half-constructed.
Once they get there, Alan wants to rape
the girl, but the brutish Eddie starts to
get protective. Telling both of them to
forget about the girl, Jessie tries to get
her caper back on track. (Because,
say it with me, money is the root of all
happiness.) To escalate the sense
of urgency, they torture Candy while
forcing her to scream a message for help
into a tape recorder. That's not enough
for Alan, however, who wants to cut her
ear off and send it along with the taped
demand, too. But when it comes right down
to doing the deed, none of them have the
stomach for it.
Not
to worry, Jessie has another solution in
mind; the results of which is a pretty embarrassing
scene with a morgue attendant who likes to
negotiate his price for body parts with
some nonsensical scatting -- that would
have Cab Calloway spinning in his grave.
He's also got a thing for fondling the
corpses while waxing poetically about the
unfairness of life's lost opportunities to
screw after your dead. *sigh* When
the singing and fondling stops, Jessie has
her needed ear, but before delivering the
new ransom demands, Jessie and Alan want
to bury Candy again -- but Eddie won't let
them. Seems Eddie and Candy kind of had a
bizarre heart to heart while the siblings
were fetching the ear. You see, Eddie is a
Vietnam vet whose been trampled over by
life. He's also got a thing for Jessie,
but fears she's too far out of his league.
But any sympathy the big, sweaty lug has
garnered for his actions to protect Candy
are torpedoed in a later scene when he
confronts Jessie with his feelings. For
when she rejects him, he attacks her and,
well, I don't think I need to draw you a
picture.
Despite
the rapidly crumbling foundation of their
partnership, the dream of a big payoff
soon gets everyone on the same page again. And
while Eddie delivers the ear and tape to
Avery, Jessie sends Alan back to the house
to kill Candy. Why? I think to just piss
Eddie off, but I can't be sure ... Meanwhile,
Sean ventures into the villain's hideout
and finds Candy tied up. He takes the gag
and blindfold off, but he can't undo the
knots binding her hands and feet. Candy
pleads for him to go and get help, but by
the time Sean figures out what she wants,
Alan shows up. The young boy manages to
hide, but watches as Alan first strips and
then forcibly rapes the helpless girl --
very graphically, and very loudly -- and
all of that is just as unpleasant as it
sounds to watch. (Gah!)
We
barely have time to recover from that
horrific scene before we finally find out
what that schmuck Avery is up to when he
doesn't react as expected after Eddie
delivers the ear. Turns out he's Candy's step-dad,
and he only married Katherine for her
money. But most of the money is locked up
in a trust that Candy is due to inherit
when she turns 21. So Avery is counting on
the kidnappers to kill her, and then he
can get his hands on the girl's millions
by default, ditch the lush, and then skip
off to South America with his mistress. This
revelation, of course, pisses Eddie off,
who gets even more pissed off when he
finds out what Jessie and Alan are up to
... After racing back to the hideout, Eddie
proceeds to knock Alan around -- too late
to stop the rape, but in time to prevent
Candy's death. During the confusion,
Sean manages to escape but all attempts to
convey to his mother that someone nearby
needs help go for naught.
There's
another weird scene where Sean tries to
use one of his talking dolls to call for
help over the phone that is one of thee
ultimate WTF?! moments in all of cinema.
Another soon follows when his mother
starts giving the kid pills -- and I
don't mean children's Tylenol.
Several other disheartening scenes
involving Sean and his parents are
probably worth mentioning, but I don't
care to drag out the details. So I'll
just let you decide if you want to see
them or not.
With
nothing else to lose, the kidnappers
decide to take one more run at Avery and
the diamonds. First they hit a gun shop
and arm up. They've also decided that
Candy is no longer of any use to them and
is expendable. Eddie volunteers to the
deed, but just buries her again -- with
the promise that he'll dig her up and let
her go once they finish with her no
account step-dad. The
treacherous trio goes after Candy's mom
first, but Avery still won't play ball
until they threaten to reveal his plan to
the cops and finally agree to meet with them at
the jewelry store with the diamonds. Nutjob Alan then kills Katherine
before they leave, saying she was number
eleven. (Eleven
what?)
As
should be expected by now, the meeting
with Avery goes bad, and things quickly
escalate out of control. When Avery goes
for a gun hidden in a drawer, Alan kicks
the door shut, smashing his hand. Alan
then pegs Avery as number twelve before
shooting him in the guts; then turns the
gun on Eddie, saying he's about to be
number thirteen. But Eddie grabs Jessie's
carbine, which goes off, hitting Alan in
the head, killing him instantly. Eddie
then takes the diamonds, grabs Jessie and
tries to flee. Not wanting to leave her
brother behind, the girl runs back inside
-- right into Avery, who still kicking,
and armed, and takes several bullets point
blank in the chest.
Eddie
escapes, with Avery in hot pursuit, and
returns to the spot where Candy is buried.
Upon arrival, he and Avery have a
shoot-out. Luckily, Eddie manages to kill
Avery, and then starts to dig Candy up. He
pulls up the air tube and uses it dig --
but then another shot rings out and Eddie
takes one in the chest.
What
the hell?
Is
Avery still alive?
Nope.
When
Eddie looks around to see who shot him, a
slow pan reveals Sean -- SEAN (!?!) --
pointing a gun at him. That's right; the
kid is packing. (Where
did the gun come from? I honestly don't
know.) Eddie begs the boy to put it
down, but Sean only shoots him again,
killing him deader than a Greek watch.
Then we hear Sean's mother screaming for
him to come home. And when Sean heads down
the hill and out of sight, his mother
keeps screaming until we hear another
shot. The screaming stops. And as the camera
pans back to reveal the hole where Candy's
breathing tube was, we can hear her crying
underneath the layers of earth as the
screen fades to black and the credits
roll.
The
End
Well.
Wasn't that a nice #@%*ing turd-burger of
ending.
Keerist.
I
really wish I could translate into words
the exact noise I made during the
conclusion of The
Candy Snatchers.
An incredulous cry, choked off by an
incoherent babbling, that degenerated into
a full fledged roar of anger when I
realized the ramifications of what Sean
had done, and that Candy was doomed to die
in her shallow grave because of them. Evil
is punished, but the film tells us bluntly
that the price is way too high. (Heav-vey!)
The
Candy Snatchers
became
quite infamous because of that downer
ending when it was first released, but
it's been wallowing in obscurity ever
since. People who'd actually seen it,
championed it as a forgotten exploitative
gem. And for nearly three decades, the
inability to see the damned thing to
confirm those claims only added to the
film's notorious reputation. Now that it's
out and readily available, via a spiffy
DVD from Subversive Cinema, I
honestly don't know if it will help or
hurt the film's cult status. (See
Massacre
at Central High for more
thoughts on this phenomenon.)
Lurid,
pessimistic, brutal, and unpleasant to
watch, but the best word to describe the
film would probably be unpredictable. As a
viewer, you're sucked in with absolutely
no clue as to what twist or turn will come
next. These characters are all
scum-buckets, but believable scum-buckets
-- we're dealing with the bottom of the
food chain here, folks. And the only two
exceptions, Sean and Candy, don't belong
in this world. They're there just to be
kicked around and abused. All the actors
involved play their characters well, but
Sennet truly shines in her thankless role (--
she was actually 28 when this film was
made), and what makes that ending almost
work is Christopher Trueblood's startling
performance.
By
no stretch of the imagination is The
Candy Snatchers
a good film let alone great -- and it's a
difficult film to sit through on many
levels. After I watched it the first time,
I hated it with every fiber of my being.
But the more I thought about it, the more
it started to work for me. After watching
it again, I didn't hate it, but it still
pissed me off. Which, I guess, is a good
thing, right? Regardless, they
definitely don't make them like this
anymore. And whether that's a good thing
or a bad thing is up to the individual
viewer.
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