The film adaptation of Stephen Sondheim and James Lapine’s Broadway musical Into the Woods hits theaters tomorrow. But this star-packed version—Meryl Streep, Anna Kendrick, Emily Blunt, Chris Pine, and Johnny Depp are all cast members—isn’t the first time Hollywood has attempted to bring Into the Woods to the big screen. That honor belongs to Columbia Pictures and the Jim Henson Company.
Into the Woods, a twist on the classic Brothers Grimm fairy tales, premiered on Broadway in November 1987. It follows the intersecting stories of Cinderella, Little Red Riding Hood, a Witch, Rapunzel, two princes, and Jack (of Jack and the Beanstalk) as well as a Baker and his Wife, invented by Lapine, who desperately want a child. The characters get their happily-ever-afters, but quickly discover that what they’d wished for isn’t quite what they expected.
The show won three Tonys, but Hollywood didn’t come knocking until a few years later. In the early ‘90s, the Jim Henson Company and Storyline approached Sondheim and Lapine with a movie adaptation of the musical that would mix live actors with Henson creatures as the show's animals. The duo signed on, and Lowell Ganz and Babaloo Mandel—who wrote City Slickers and A League of Their Own—penned the script.
Sondheim also wrote two new songs for the project, which he included in Look, I Made a Hat, the second volume in his books of collected lyrics. The first was a new opening number, “I Wish.” While the Broadway show’s first song featured the main characters singing about their wishes, the film version expanded the song to include villagers who sang of their wishes (“I wish my well was filled with beer,” “I wish my son-in-law would disappear,” “I wish my cow could go with me to school”) as they went about their business, and featured a narrator doing a voiceover.
The second new song, "Rainbows," was for the Baker and his Wife and “occurs a bit later,” Sondheim writes in Hat, “when the Baker is despairing about his inability to have children and the wife is trying to conceal her impatience with his pessimism.”
You’re always expecting rainbows
WIFE You’re always expecting rain
BAKER I used to expect a rainbow
It’s no longer worth the pain.
Can’t sit around sighing for
The dreams that won’t come true.
They’re not worth the trying for—
A few less dreams will have to do.
You can listen to Jonathan Dokuchitz and Ann-Marie Milazzo singing a demo of the song below:
Sondheim.com, a fansite dedicated to the lyricist/composer, got a peek at a version of the script in 1994, and wrote that “The story basically follows that of the show's first act, although the story unfolds in a different manner, without a narrator or a Mysterious Man”:
Several confusions of the play have been fixed. For example, Rapunzel is no longer related to the Baker, nor does she give birth to twins, so the question of why the family curse didn't affect her has been erased.
At the end of the first “act,” the Giant rises from his fall and goes on a rampage, allowing the rest of the story to unfold more-or-less as it did in Act II of the play. The intricate back stories of the Baker's father and the witch's mother have been deleted, eliminating "No More" and changing a bit of "Last Midnight." There is no "second bean," so the Baker's wife's scenes with Cinderella are fairly different. Finally, at the very end of the movie the wife reappears, having tricked the Giant into thinking she was dead.
Strangely, there has been no effort to integrate “Children Will Listen” into the action. Rather, the camera just switches to a shot of the witch singing the song against a backdrop of Rapunzel's tower, followed by a montage of the survivors going about their lives after the giant.
“Although there will certainly be more work done on the script before it becomes a film,” the site concluded, “what we've seen is certainly promising, and will definitely be entertaining, even if it's not the Into the Woods we all know and love.”
Two readings of the script were held in Los Angeles: The first included Martin Short as the Baker, Julia Louis-Dreyfus as the Baker's Wife, Neil Patrick Harris as Jack, Mary Steenburgen as his mother, Kathy Najimy and Janeane Garofalo as Cinderella’s stepsisters, Cynthia Gibb as Cinderella, Rob Lowe as her prince, Christine Lahti as the Witch, Daryl Hannah as Rapunzel, and Michael Jeter as the Giant. At the second, Robin Williams played the Baker and Goldie Hawn was the Wife; Cher played the Witch, and Steve Martin played the Wolf. Carrie Fisher and Bebe Neuwirth were the stepsisters, Moira Kelly played Cinderella, and Kyle MacLachlan was her prince. Brendan Fraser played Rapunzel’s prince. Elijah Wood was Jack and Roseanne Barr was his mother. The cast was rounded out by Danny DeVito playing the Giant. In 1995, Rob Minkoff, co-director of The Lion King, signed on to direct.
Sadly, it was not meant to be. The readings, Sondheim writes in Hat, were “followed shortly by one of those periodic studio shake-ups where a new platoon of executives replaces the old one, eager to throw out all projects begun before their arrival in order to demonstrate the freshness of their re-thinking.” In 1997, Variety wrote that “after it seemed to be fast-tracking the screen version of Stephen Sondheim’s multiple Tony-winning musical Into the Woods, [Columbia] has put it in turnaround”—film slang for selling the property to another studio. Though “several studios have set meetings [and] CAA’s Jon Levin hopes to steer the musical out of the woods shortly,” that version of the film was dead; Into the Woods wouldn’t be made for another 16 years—and it would feature real animals, not Jim Henson Company creations.
Helen Lyle (Virginia Madsen) is a Chicago graduate student with a deep fascination with urban legends, which she and her friend Bernadette (Kasi Lemmons) are using as the basis for a thesis project. After they stumble across the local legend of Candyman, a well-to-do black artist who fell in love with a white woman in the late 1800s and was murdered for it, Helen wants to learn more. When she’s told that Candyman still haunts Chicago's Cabrini-Green housing project, and that his spirit can be summoned by repeating his name into a mirror five times, Helen does just that … and all hell breaks loose.
What began as a low-budget indie film has morphed into a contemporary classic of the horror genre, and essential Halloween viewing. In 1992, English filmmaker Bernard Rose—who got his start working as a gopher on The Muppet Show—turned Clive Barker’s short story “The Forbidden” into Candyman, which was released in theaters 25 years ago today. In honor of the film’s anniversary, here are 15 things you might not have known about Candyman.
1. EDDIE MURPHY WAS CONSIDERED FOR THE LEAD.
Though the role of Candyman turned Tony Todd into a horror icon, he wasn’t the only actor in consideration for the film’s title role: Eddie Murphy was also reportedly a contender for the part. Though it’s unclear exactly why he wasn’t cast, sources have reported that it had to do with everything from his height (at 5 feet 9 inches, he wouldn’t seem nearly as intimidating as the 6-foot-5 Todd) to his salary demands.
2. AN UNEXPECTED PREGNANCY LANDED VIRGINIA MADSEN THE LEAD.
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When asked by HorrorNewsNetwork about how she got the role of Helen in Candyman, Virginia Madsen shared that it was almost by accident: She was supposed to play Bernie, Helen’s friend and classmate, the role that eventually went to Kasi Lemmons.
“I was actually very good friends with Bernard [Rose] and his wife Alexandra,” Madsen said. “She is a wonderful actress, who actually brought Clive Barker’s short story ‘The Forbidden’ to her husband. She thought this would be a great film, and he could direct her. She was supposed to be Helen. I was going to play [Kasi Lemmons'] part, until they made the character African American. Then I was out.
“Right before shooting, Alexandra found out she was pregnant. It was great for me, but it was so sad for her because this was her role; she found this story and really wanted it. So when I was asked to step in I felt like ‘I can’t take my friend’s role.’ She actually came over one day and said ‘It would just kill me to see someone else play this role, you have to be the one who plays it.’ So with her blessing I took on the role. I really tried to work my butt off just to honor her.”
3. IT COULD HAVE STARRED SANDRA BULLOCK.
On the film’s DVD commentary, producer Alan Poul said that had Madsen been unable to step into the role of Helen, the part would have likely been offered to Sandra Bullock, who was still a relative unknown actress at that point. Though she had played the role of Tess McGill in the television adaptation of Working Girl, she was still a couple of years away from Speed (1994), the role that launched her into stardom.
4. ITS OPENING SHOT WAS GROUNDBREAKING.
The film’s opening credits feature a great aerial view of Chicago, which was pretty revolutionary for its time. “We did that with an incredible new machine called the Skycam, which can shoot up to a 500mm lens with no vibration,” Rose told The Independent. “You've never seen that shot before, at least not done that smoothly.”
5. NOT ALL OF THE FILM’S CREEPY DETAILS SPRUNG FROM CLIVE BARKER’S IMAGINATION.
While investigating one of Candyman’s crime scenes, Helen and Bernie discover that the design of the apartment’s medicine cabinet made it a possible point of entry for an intruder. This was not a made-up piece of horror movie fiction. While researching the film, Rose learned that a series of murders had been committed in Chicago in this very way.
6. BERNARD ROSE SEES CANDYMAN AS A ROMANTIC FIGURE.
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Viewers may think of Candyman as one of the horror genre’s most terrifying villains, but Rose said that “the idea always was that he was kind of a romantic figure. And again, romantic in sort of the Edgar Allan Poe sense—it's the romance of death. He's a ghost, and he's also the resurrection of something that is kind of unspoken or unspeakable in American history, which is slavery, as well. So he's kind of come back and he's haunting what is the new version of the racial segregation in Chicago.
“And I think there's also something very seductive and very sweet and very romantic about him, and that's what makes him interesting. In the same way there is about Dracula. In the end, the Bogeyman is someone you want to surrender to. You're not just afraid of. There's a certain kind of joy in his seduction. And Tony was always so romantic. Tony ties him in so elegantly and is such a gentleman. He was wonderful.”
7. THE BEES IN THE FILM WERE BRED SPECIFICALLY TO APPEAR ONSCREEN.
No, that is not CGI! The bees that play a key role in Candyman are indeed real. So that they looked appropriately terrifying, but were less dangerous to the cast and crew, the filmmakers used newborn bees—they were just 12 hours old—so that they looked fully grown, but had less powerful stingers.
8. TONY TODD WAS STUNG 23 TIMES, AND GOT A BONUS EACH TIME IT HAPPENED.
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In addition to allowing the filmmakers to cover his face with bees, Todd actually agreed to film a scene in which he had a mouthful of bees—and that, too, was all real. He told TMZ that he wore a dental dam to prevent any bees from sliding into his throat—which doesn’t mean that he didn’t suffer a sting or two … or 23, to be exact, over the course of three Candyman movies. Though it might have been worth it. “I had a great lawyer,” he told TMZ. “A thousand dollars a pop.”
9. THE BEES WEREN’T GREAT NEWS FOR MADSEN, EITHER.
Madsen, too, had to get up close and personal with those bees—a fact that almost forced her to pass on the role. “When Bernie was first asking me to do the role I said, ‘Well, I can’t. I’m allergic to bees,’” she told HorrorNewsNetwork. “He said ‘No you’re not allergic to bees, you’re just afraid.’ So I had to go to UCLA and get tested because he didn’t believe [me]. I was tested for every kind of venom. I was far more allergic to wasps. So he said, ‘We’ll just [have] paramedics there, it will be fine!’ You know actors, we’ll do anything for a paycheck! So fine, I’ll be covered with bees.
“So we a had a bee wrangler and he pretty much told us you can’t freak out around the bees, or be nervous, or swat at them, it would just aggravate them. They used baby bees on me. They can still sting you, but are less likely. When they put the bees on me it was crazy because they have fur. They felt like little Q-tips roaming around on me. Then you have pheromones on you, so they’re all in love with you and think you’re a giant queen. I really just had to go into this Zen sort of place and the takes were very short. What took the longest was getting the bees off of us. They had this tiny ‘bee vacuum,’ which wouldn’t harm the bees. After the scene where the bees were all over my face and my head, it took both Tony and I 45 minutes just to get the bees off. That’s when it became difficult to sit still. It was cool though, I felt like a total badass doing it.”
10. PHILIP GLASS COMPOSED THE SCORE, BUT WAS DISAPPOINTED IN THE MOVIE.
When Philip Glass signed on to compose the score for Candyman, he apparently envisioned the final film being something totally different. According to Rolling Stone, “What he'd presumed would be an artful version of Clive Barker's short story ‘The Forbidden’ had ended up, in his view, a low-budget slasher.” Glass was reportedly disappointed in the film, and felt that he had been manipulated. Still, the haunting music is considered a classic score—and Glass’s own view of it seems to have softened over time. “It has become a classic, so I still make money from that score, get checks every year,” he told Variety in 2014.
11. MANY OF THE FILM'S SCENES WERE SHOT AT CABRINI-GREEN.
In 2011, the last remaining high-rise in the Cabrini-Green housing project was demolished. Over the years, the property—which opened in 1942—gained a notorious reputation around the world for being a haven for violence, drugs, gangs, and other criminal activities. While the project’s real-life history weaves its way into the narrative of Candyman, it only makes sense that Rose would want to shoot there. Which he did. But in order to gain permission to shoot there, he had to agree to cast some of the residents as extras.
“I went to Chicago on a research trip to see where it could be done and I was shown around by some people from the Illinois Film Commission and they took me to Cabrini-Green,” Rose said. “And I spent some time there and I realized that this was an incredible arena for a horror movie because it was a place of such palpable fear. And rule number one when you're making a horror movie is set it somewhere frightening. And the fear of the urban housing project, it seemed to me, was actually totally irrational because you couldn't really be in that much danger. Yes, there was crime there, but people were actually afraid of driving past it. And there was such an aura of fear around the place and I thought that was really something interesting to look into because it's sort of a kind of fear that's at the heart of modern cities. And obviously, it's racially motivated, but more than that—it's poverty motivated.”
12. THE FILM’S PRODUCERS WERE WORRIED THAT THE FILM WOULD BE CONSIDERED RACIST.
During pre-production, Candyman’s producers began to worry that the film might draw criticism for being racist, given that its villain was black and it was largely set in an infamous housing project. “I had to go and have a whole set of meetings with the NAACP, because the producers were so worried,” Rose told The Independent. “And what they said to me when they'd read the script was 'Why are we even having this meeting? You know, this is just good fun.' Their argument was 'Why shouldn't a black actor be a ghost? Why shouldn't a black actor play Freddy Krueger or Hannibal Lecter? If you're saying that they can't be, it's really perverse. This is a horror movie.'”
13. STILL, SOME FILMMAKERS COMPLAINED THAT IT WAS RACIST.
In a 1992 story in the Chicago Tribune, some high-profile black filmmakers expressed their disappointment that the film seemed to perpetuate several racist stereotypes. “There’s no question that this film plays on white middle-class fears of black people,” director Carl Franklin (Out of Time, Devil in a Blue Dress) said. “It unabashedly uses racial stereotypes and destructive myths to create shock. I found it hokey and unsettling. It didn't work for me because I don’t share those fears, buy into those myths.”
Reginald Hudlin, who directed House Party, Boomerang, and Marshall, described the film as “worrisome,” though he didn’t want to speak on the record about his specific issues with the film. “I've gotten calls about [the movie], but I think I'm going to reserve comment,” he said. “Some of my friends are in it and I may someday want to work for TriStar.”
For Rose, those assessments may have been hard to hear, as his goal in adapting Barker’s story and directing it was to upend the myths about inner cities. “[T]he tradition of oral storytelling is very much alive, especially when it's a scary story,” he told The Independent. “And the biggest urban legend of all for me was the idea that there are places in cities where you do not go, because if you go in them something dreadful will happen—not to say that there isn't danger in ghettos and inner city areas, but the exaggerated fear of them is an urban myth.”
14. IT’S STILL THE ROLE THAT MADSEN IS MOST RECOGNIZED FOR (ESPECIALLY AT AIRPORTS).
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Though she earned a Best Supporting Actress nomination in 2005 for Alexander Payne’s Sideways, in 2012 Madsen said that Candyman is still the role she is most recognized for—especially at airports.
“More people recognize me from that movie than anything I’ve done,” she told HorrorNewsNetwork. “It means a lot to me. It was after years of struggling. As an actor, you always want a film that’s annual, like It’s a Wonderful Life or A Christmas Story. I just love that I have a Halloween movie. Now it’s kind of legend this story. People have watched it since they were kids, and every Halloween it’s on, and they watch it now with their kids. That means a lot to me. The place I get recognized the most is the airport security for some reason. Every person in airport security has seen Candyman. Maybe it makes them a little afraid of me.”
15. THERE WAS AN ACTUAL CANDYMAN KILLER.
Though the Chicago-based legend of Candyman is a work of fiction, there was an actual serial killer known as “Candyman” or “The Candy Man.” Between 1970 and 1973, Dean Corll kidnapped, tortured, and murdered at least 28 young boys in the Houston area. Corll earned his sweet nickname from the fact that his family owned a candy factory.
Even if you’ve never set foot in New York City, chances are you’re intimately familiar with Grand Central Terminal. A sprawling, architecturally awesome railway station located on East 42nd Street in Manhattan, it’s been a favorite of Hollywood location scouts since its first onscreen appearance in the 1930 musical Puttin’ on the Ritz.
According to Times Square Chronicles, the terminal is now set to host an event worthy of its rich cinematic history: a film festival. On Thursday, October 19, screenings in the terminal’s Vanderbilt Hall will include clips from some of its most notable movie appearances. The show will culminate in a feature-length presentation of Alfred Hitchcock's 1959 classic North by Northwest, notable for a scene in which star Cary Grant eludes his pursuers by making his way through Grand Central.
The Museum of the Moving Image and Rooftop Films are collaborating on the special event, titled Grand Central Cinema. North by Northwest begins at 7:30 p.m., but that ticketed admission is already sold out and the waiting list is at capacity. Fortunately, the montage of clips will play all day from 7 a.m. to 5:30 p.m. Historians will also be giving presentations of the site's history on screen throughout the program. Admission is free.