Russians Capture Trabzon

Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 232nd installment in the series. 

APRIL 15, 1916: RUSSIANS CAPTURE TRABZON

While Russia’s main spring offensive on the Eastern Front failed at the Battle of Lake Naroch from March 18-30, 1916, Russian arms won great victories further afield in the opening months of 1916, most notably on the Caucasian Front. After a breakthrough at Köprüköy in January, Russian troops captured the ancient and strategically sited city of Erzurum in February, and then continued to advance west into the Turkish heartland of central Anatolia.

On April 15, 1916 the Russians delivered another discouraging setback to the Ottoman Empire with the occupation of Trabzon, another ancient city with both symbolic and strategic importance, abandoned without a fight by the outnumbered Turks. Originally founded in 756 BCE by Greek colonists from the nearby port of Sinope, Trapezous was known to the Romans as Trebizond and during the decline of the Byzantine Empire became the seat of its own empire from the 13th-15th centuries.

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In the context of the First World War, its location on the north coast of Anatolia would allow the Russians to begin delivering supplies to the Caucasian Army partly by sea, avoiding the circuitous and time-consuming journey over the incredibly primitive terrain of the Caucasus and eastern Anatolia, with few roads and these mostly unfinished. It also boosted Allied morale and cemented Russian claims to territory in Asia Minor ahead of the long-expected breakup of the Ottoman Empire (now being negotiated by Allied diplomats in what would become the Sykes-Picot Agreement). 

As in other recently conquered territories in Anatolia, the advancing Russians were shocked to find the region’s once-thriving Armenian Christian population had been more or less wiped out. Trabzon had been home to roughly 30,000 Armenians before the war, all of whom were massacred or deported during the ongoing Armenian genocide, including thousands herded out into the water or dumped from boats and drowned in the Black Sea at Trabzon.

The anonymous author of “The Russian Diary of an Englishman in Petrograd,” believed to be the diplomatic courier Albert Stopford, noted reports that the Turks were targeting many other minorities besides Armenians, including Christian Greeks and Assyrians: “When the Russians got to Erzrum there was not one Christian alive save six girls in the American Consulate. The guide of the Tiflis Hotel was a Christian Turk, not Armenian and his town was a little to the south of Erzrum. There all the Christians were also massacred – 840, including his old grandmother.” 

Meanwhile diplomatic documents from the Ottoman Empire’s own ally, Imperial Germany, confirmed that the genocide was still in full swing in the spring of 1916 and left little doubt that it was officially sanctioned. The German ambassador to Constantinople, Wolff-Metternich, wrote to the Imperial chancellor Bethmann Hollweg on March 27, 1916: “Despite all the assurances to the contrary, the Porte is apparently beginning to decimate the remainder of the deported and, if possible, to exterminate those who have escaped the misery and the disaster before peace is made.” 


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On April 1, 1916, Ernst Jacob Christoffel, the head of a German charity for the blind in Malatya, left an even more detailed report of his personal observations in a letter to the German embassy in Constantinople: 

Not a single Armenian sound is to be heard anywhere. Thousands were killed in Gemerek. In the area surrounding Yozgad, the population from 6 Armenian villages was massacred, all of them, even the infants… There were 500 men in a village near Sivas with which I have good relations; 30 of them are still alive. A family of 18 lost 14 of its members through sickness and murder. Out of other large families, one or 2 members are still alive. There are not isolated cases, but rather the rule. The number of those killed may be inferred from this. 

Armenians who managed to survive the death marches then had to endure conditions in “concentration camps” that were in fact death camps, left to die in the desert with no food, no medicine, and no shelter. Often the process was hurried along by raids by itinerant neighbors looking to steal any remaining possessions or kidnap and rape Armenian women. April 6, 1916, Ernst Rössler, the German consul in Aleppo, wrote in a letter to the embassy in Constantinople: “During the past few days, the Armenian concentration camp in Ras-ul-Ain was attacked by the Circassians and other similar people living nearby. The largest part of the unarmed 14,000 inmates was massacred. There are no further details at this point; I will be informed of them later.”

On April 27 Rössler noted independent reports from Muslim Arabs serving in a labor corps, shocked at their first encounters with the genocide:

As the building of two bridges proved to be necessary… the 4th Army delivered a Syrian Muslim pioneer battalion for this purpose about 15 April. These people, who were transported in two days from Damascus to Ras-ul-Ain and who did not know anything about the plight of the deported Armenians and, as it can be presumed, were not influenced along the way, were quite horrified upon their arrival. They were of the opinion that the Armenians had been massacred by soldiers. This again demonstrates the common belief that the act had been done under orders. In any case, this was the opinion generally widespread in the area. 

ESCADRILLE LAFAYETTE FORMED 

Over two thousand miles to the west, on April 16, 1916 France celebrated one of the biggest symbolic demonstrations of unofficial American support yet, with the formation of the Escadrille Lafayette or “Lafayette Squadron,” an all-volunteer force of American pilots who joined this independent unit to help roll back German air superiority on the Western Front. 

Originally known as the Escadrille Américaine (the name was changed in December 1916 under diplomatic pressure from Germany), the Escadrille Lafayette was actually one of two American volunteer squadrons that served in France, later augmented by the Lafayette Flying Corps (below, American pilots in the Escadrille). Both were composed mostly of young, upper-class American college men with the means to travel to France and support themselves during a long leave of absence from schools like Harvard and Princeton.

Wikimedia Commons// Public Domain 

The Escadrille Lafayette was founded by a handful of colorful characters, as reflected in their decision to adopt a lion cub called “Whiskey” as the Escadrille’s mascot, who traveled with them wherever they served (or went on leave). One of the early volunteer flyers, James McConnell, remembered some of the difficulties associated with transporting Whiskey during leave in Paris: 

The little chap had been born on a boat crossing from Africa and was advertised for sale in France. Some of the American pilots chipped in and bought him. He was a cute, bright-eyed baby lion who tried to roar in a most threatening manner but who was blissfully content the moment one gave him one's finger to suck… Lions, it developed, were not allowed in passenger coaches. The conductor was assured that “Whiskey” was quite harmless and was going to overlook the rules when the cub began to roar and tried to get at the railwayman's finger. That settled it, so two of the men had to stay behind in order to crate up "Whiskey" and take him along the next day. 

The Escadrille Lafayette went into action almost immediately at Verdun, taking to the air for the first time as a combat unit on April 20, followed by its first kill on April 24. With their birds’ eye view of the action, its pilots also played an important role observing and reporting enemy troop movements and artillery positions. They also gained a rare aerial perspective on the incredible destruction wrought by modern warfare. On May 23, 1916, volunteer pilot Victor David Chapman described the scene at Verdun from the air: 

The landscape – one wasted surface of brown powdered earth, where hills, valleys, forest and villages all merged in phantoms – was boiling with puffs of dark smoke. Even above my engine’s roar I could catch reports now and then. To the rear, on either side, tine sparks like flashed of a mirror, hither and yon, in the woods and dales, denoted the heavy guns which were raising such a dust… Even from above, one had the sense of great activity and force in the country to the rear. From every wood and hedge peeped out “parcs” of autos, wagons, tents and shelters, – while all the roadsides showed white and dusty with the ceaseless travel.

McConnell left a similar description of Verdun seen from the air: 

Now there is only that sinister brown belt, a strip of murdered Nature. It seems to belong to another world. Every sign of humanity has been swept away. The woods and roads have vanished like chalk wiped from a blackboard; of the villages nothing remains but gray smears where stone walls have tumbled together. The great forts of Douaumont and Vaux are outlined faintly, like the tracings of a finger in wet sand. One cannot distinguish any one shell crater, as one can on the pockmarked fields on either side. On the brown band the indentations are so closely interlocked that they blend into a confused mass of troubled earth. Of the trenches only broken, half-obliterated links are visible. 

Pilots also had a front-row seat for artillery bombardments, as many claimed they could actually see the shells hurtling through the air. McConnell described the strange, alarming feeling of flying through a fusillade: 

Columns of muddy smoke spurt up continually as high explosives tear deeper into this ulcered area. During heavy bombardment and attacks I have seen shells falling like rain… A smoky pall covers the sector under fire, rising so high that at a height of 1,000 feet one is enveloped in its mist-like fumes. Now and then monster projectiles hurtling through the air close by leave one’s plane rocking violently in their wake. Airplanes have been cut in two by them. 

See the previous installment or all entries

8 Surprising Facts About Eddie Murphy

David Shankbone via Flickr // CC BY 2.0, Wikimedia Commons
David Shankbone via Flickr // CC BY 2.0, Wikimedia Commons

Few entertainers have enjoyed the kind of success comedian Eddie Murphy has had. Born in Brooklyn, New York on April 3, 1961, Murphy originally found fame on Saturday Night Live, then went on to dominate the box office throughout much of the 1980s with hits like 48 Hrs., Trading Places, Beverly Hills Cop I and II, The Golden Child, Eddie Murphy: Raw, and Coming to America, which went unrivaled in Hollywood. Switching from his trademark role of a streetwise, fast-talking fish out of water, Murphy moved on to a string of successful family comedies (The Nutty Professor, Doctor Dolittle) in the 1990s and beyond.

Having taken some time off following the lukewarm reception to Bruce Beresford's 2016 drama Mr. Church, in which Murphy starred, the 58-year-old is coming back into the spotlight with the Netflix biopic Dolemite Is My Name, a return to Saturday Night Live (on December 21), and a sequel to Coming to America (coming in December 2020). The actor also plans on a return to stand-up comedy after a 32-year hiatus. In the meantime, check out some lesser-known facts about Murphy’s life and career, including his plans for a cartoon series and an idea to cross paths with Crocodile Dundee.

1. Eddie Murphy wasn’t always live on Saturday Night Live.

Eddie Murphy stars in 'Dolemite Is My Name' (2019)
Eddie Murphy stars in Dolemite Is My Name (2019).
François Duhamel, Netflix

After enjoying success as a stand-up comedian, Murphy arrived on Saturday Night Live in 1980 at age 19, where he spent four seasons drawing renewed interest to the show that had once been declared “Saturday Night Dead” by critics following the departure of original cast members Bill Murray, Dan Aykroyd, and John Belushi, and series creator Lorne Michaels. By the time Murphy was ready to depart the show in 1984 to pursue feature films—1982’s 48 Hrs. and 1983’s Trading Places had been hits—SNL's producers were so desperate to hold on to their star attraction that they offered Murphy a deal to essentially stick around for a portion of the 1983-1984 season. Murphy would appear live in studio in 10 of the 20 scheduled shows and tape 15 sketches that they could insert throughout the season.

“We basically just did a private show that was one Eddie sketch after another that we taped with a studio audience,” writer Pam Norris told Tom Shales and James Andrew Miller for their 2002 book, Live From New York: The Complete, Uncensored History of Saturday Night Live as Told by Its Stars, Writers, and Guests. “And then those were later put into the shows.”

2. Eddie Murphy hosted Saturday Night Live while he was still a cast member.

Before departing SNL, Murphy was scoring box office hits, including his debut in 1982’s 48 Hrs. His co-star, Nick Nolte, was scheduled to host SNL on December 11 to promote that film. When Nolte fell ill the week of the show, Murphy was selected to host at the last minute—the only time a then-current cast member took over hosting duties. “This summer, Nick and I had the opportunity to work together in a motion picture called 48 Hrs.,” Murphy told the audience during his introduction. “Uh, Nick and I grew together, and Nick taught me a lot about myself, and a lot about acting, and he’s a real great guy. You know, we were sitting around in Paramount’s lot this summer, and I said, ‘Nick, why don’t you come and host Saturday Night Live?’ and he said, ‘Yeah, sure, Eddie, anything for you.’ That’s the kind of guy Nick was. When Nick got here, got off the plane, he vomited on my shirt. And we realized Nick was too sick to do the show. And that’s too bad, because Nick was gonna be in some real great stuff tonight. But I know you folks tuned in to see one of the stars of 48 Hrs. host the show, and dammit, you’re gonna see it. ‘Cause I’m gonna host the show. Live, from New York, it’s the Eddie Murphy Show!”

3. Fred Rogers liked Eddie Murphy’s impression of him.

While on Saturday Night Live, Murphy repeatedly returned to a sketch character named Mister Robinson, a less-than-wholesome version of Mister Rogers. Rather than be dismayed by the parody, Rogers was reportedly very amused by it. He once visited Murphy at Rockefeller Center where SNL was broadcast and met Murphy in his dressing room to congratulate him on the character.

4. There was almost an Eddie Murphy Saturday morning cartoon.

In 1987, at the height of Murphy’s powers in the entertainment industry, he was nearly granted one of the biggest honors of any performer: his own Saturday morning cartoon series. Murphy was reportedly in discussions with Hanna-Barbera for a series—the premise was never disclosed—that would presumably have offered a G-rated interpretation of his comic sensibilities.

The idea was not without precedent. One of Murphy’s comic inspirations, the similarly adult-oriented Richard Pryor, headlined Pryor’s Place, a children's show that ran on CBS for one season beginning in 1984. The untitled Murphy production never saw the light of day, though Murphy did eventually find his way back in the Hanna-Barbera fold. He was set to voice the title character in Hong-Kong Phooey, a live-action and computer-animated adaptation of the ‘70s cartoon featuring a martial arts-proficient dog, in 2011. That project was also shelved.

5. Eddie Murphy’s Beverly Hills Cop character almost met Crocodile Dundee.

Eddie Murphy stars in 'Beverly Hills Cop' (1984)
Eddie Murphy stars in Beverly Hills Cop (1984).
Paramount Home Entertainment

Released in 1984, Beverly Hills Cop was a gigantic hit, with its $235 million in ticket sales beating even Ghostbusters to become America's highest grossing film of the year. Murphy starred as Axel Foley, a Detroit police detective whose investigation of his friend’s murder leads him to a culture clash in Beverly Hills. The film spawned two sequels in 1987 and 1994. For the third installment, Paramount kicked around the idea of teaming Murphy’s Foley with Paul Hogan’s Crocodile Dundee character, the star of his own fish-out-of-water franchise. The idea was suggested by Brandon Tartikoff, Paramount’s then-president. Another idea would have Foley in London and working with a Scotland Yard inspector played by Sean Connery. The 1994 film ultimately featured Foley attempting to solve his boss’s murder and chasing a lead back to an amusement park in California.

6. Eddie Murphy shot a Beverly Hills Cop television pilot.

Though the Beverly Hills Cop sequels were not as well-received as the original, the role was still important to both Paramount and Murphy. In 2013, the studio launched a pilot for a television series that would see Foley become the chief of police in Detroit and spar with his cop son, Aaron Foley (Brandon T. Jackson). Murphy appeared in the pilot and was expected to recur throughout the series, but CBS failed to pick it up. Murphy is now expecting to shoot a fourth Beverly Hills Cop feature film once he finishes the Coming to America sequel.

7. Eddie Murphy has a deep vault of music he’s recorded.

Though he drew a mixed response to his musical albums in the 1980s, Murphy has never stopped recording music. Following the release of “Party All the Time,” the performer has been steadily using home recording studios to produce material. Speaking with Netflix’s Present Company podcast in 2019, Murphy said there are a lot of songs left unreleased. “I’ve never stopped doing music … I stopped putting it out, though, because the audience gets weirded out by it. And I don’t want to be that guy.”

8. Barack Obama may have gotten him back into stand-up.

Murphy is expected to return to stand-up comedy beginning in 2020, a move that may be the result of a massive $70 million Netflix deal. But according to Murphy, resuming that career might be the product of a meeting with Barack Obama. He met up with the President in 2015, when Murphy was accepting the Mark Twain Prize for American Humor. Obama asked when he would be doing comedy again. “When you go into the Oval Office and the President asks when you are doing stand-up, it’s time to do some jokes,” Murphy said.

15 Fascinating Facts About Candyman

PolyGram Filmed Entertainment
PolyGram Filmed Entertainment

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. Here are 15 things you might not have known about Candyman.

1. Eddie Murphy was considered for the lead in Candyman.

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.

Virginia Madsen stars in 'Candyman'
PolyGram Filmed Entertainment

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. Candyman 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. Candyman's title sequence 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.

Tony Todd stars in 'Candyman'
PolyGram Filmed Entertainment

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.

Photo of Tony Todd in 'Candyman'
PolyGram Filmed Entertainment

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 Virginia Madsen.

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 on location, 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. Candyman's producers were worried that the movie 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. Candyman is still the role that Virginia Madsen is most recognized for (especially at airports).

Kasi Lemmons and Virginia Madsen in 'Candyman'
PolyGram Filmed Entertainment

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.

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