The Devil’s Candy. 2017. Directed & Written by Sean Byrne.
Starring Ethan Embry, Shiri Appleby, Pruitt Taylor Vince, & Kiara Glasco.
Rated 14A. 79 minutes.
Sean Byrne’s debut feature The Loved Ones rocked me in 2009. It was unique and horrifying. I knew he’d give us more terror eventually. Although I didn’t think it would take another 6 years. When you wait that long and the product ends up being something altogether eerie, you thank a writer-director who so obviously digs the genre.
The Devil’s Candy gives us equal parts beauty and horror. There’s heavy metal, there’s painting, there’s a troubled father-daughter relationship and a fun family at the centre of the plot. There’s also three excellent performances from Ethan Embry, Kiara Glasco, and one of the great unsung character actors possibly every, Pruitt Taylor Vince.
What’s most exciting about Byrne’s follow-up feature is the take on possession. So many horrors out there try to do the sub-genre justice by giving their own take on the concept of demonic possession, but many of those slip into the pitfalls of a typical Exorcist rip-off. Byrne avoids that by going a whole other route, bringing the supernatural straight into collision with utterly human, family drama with an innovative twist.
“I didn‘t mean to do this”
I always love when demonic possession is more than some poor, helpless young person is seized by the devil, flopping around on the floor or speaking another language or contorting into a weird human-limbed spider. A possession story becomes something else entirely when the demonic influence helps the possessed acquire wealth (fame/anything similar). This makes the character of Jesse’s (Embry) paintings like an unwitting, unspoken pact with the devil.
On the other side is Ray (Vince), whose encounter with Satan is entirely different. He’s a man with mental difficulties to begin, then he has to contend with the voice of the devil whispering in his ear. Whereas Jesse sort of takes it like a voice of inspiration, if not a sinister one, for Ray it’s like torture.
Heavy metal is the link. While Jesse listens to metal, as he paints and driving with his daughter Zooey (Glasco), Ray uses it as a means of drowning out the voice of Satan in his head. He plays the guitar, a flying V in fact, strumming deep, droning, distorted chords, which doesn’t just make his house unpleasant, it eventually draws the police. Just a whole mess of things going on, all of which add to the atmosphere of terror.
Embry and I follow one another on Twitter. I asked him if he was wearing a Sunn O))) shirt, which he confirmed, and he also told me that, he believes, the voice of Satan here is likewise provided by the band.
Brings me to one of the things I find so unsettling about the film – the sound design. At certain moments we hear the low, rumbling voice of Satan speaking to his pawns. It’s the absolute perfect voice. Sort of rattles your bones listening to it. Along with Ray’s power chords, the heavy metal soundtrack, the sound design and the voice itself are part of the dreadful feeling the film evokes at every turn.
The storytelling is a large part of The Devil’s Candy‘s success as a horror that works hard to unnerve its audience, frame by frame, building to a roar. In parallel, we watch the stories of Ray and Jesse, like opposite ends of a spectrum. Then the paintings Jesse creates in a fugue of possession reflect the actions and events in Ray’s life, giving the parallel plots a whole new level of meaning.
A favourite scene of mine is the montage sequence of the painting Jesse works on. The paint, the brushes, the sloppy wet sounds of them together – these are, again, paralleled with the sounds of Ray with his wet mop sloshing around, soaking up blood. The whole sequence is amazingly edited. On top of that the score and the sound design make it chilling.
Byrne does a fantastic job providing us with an alternative story about possession and occult horror. Not saying he’s reinvented the wheel. But god damn me to hell if he doesn’t offer up a horror that doesn’t take the same old beaten path. Peppered with equally fantastic performances, The Devil’s Candy is a personal favourite of mine since 2000.
A huge selling point is the chemistry between Embry and Glasco. Their relationship as father and daughter is strained, though not past the point of no return. There’s a breaking point, yes. And that plays its own part in their relationship. What I dig is that they’re so natural. Embry’s not that old, so his character comes off as this hip guy who hasn’t exactly reconciled his hipness with also being a father; he’s a good dad, not perfect, and tries his best. For her part, Glasco plays the daughter well and her emotional range as an actress stacks up well against her adult counterparts.
From Sunn O))) in all forms – t-shirt, voice of Satan, soundtrack – to Embry and Glasco, as well as Pruitt Taylor Vince doing a bang up job as a seasoned character actor, to Sean Byrne and his atmospheric directing, The Devil’s Candy does what it sets out to do: unsettle and terrify. You don’t have to piss your pants to find something scary. What I find most unsettling about the film is the presentation of the devil’s influence, as something that simply cannot be stopped – won’t be stopped. And for once heavy metal isn’t the bringer of horror, it is a way for the horror to be evaded, a positive force between father and daughter. Underneath the possession stuff there’s a lot going on, too.
I'm a Bachelor of Arts (Hons.) graduate and a Master's student with a concentration in early modern literature and print culture. Although I've studied everything from Medieval literature onward, also spending an extensive time studying post-modern critical theory; I have a large interest in both Marshall McLuhan and Jean Baudrillard. I completed my Honours thesis on John Milton's Paradise Lost + the communal aspects of its conception, writing, and its later printing/publication. This thesis will serve as the basis for a book about Milton's authorship and his influence on pop culture (that continues to this day). My Master's program involves a Creative Thesis, which will be a full-length, semi-autobiographical novel. Author Lisa Moore is supervising the writing of this thesis. I'm already looking towards doing a dissertation for a PhD in 2019, focusing on early modern print culture in Europe and the constructions of gender identities. - I'm a film writer, author, and a freelance editor. My short stories have been printed in Canada and the U.S. I edited Newfoundland author Earl B. Pilgrim's latest novel The Adventures of Ernest Doane Volume I. Aside from that I have a short screenplay titled "New Woman" that went into post-production during early 2018. I was part of a pilot episode for "The Ship" on CBC; I told a non-fiction story of mine about my own addiction/alcoholism live for an audience with nine other storytellers. - Meanwhile, I'm writing more screenplays, working on editing a couple novels I've finished, and running this website/writing all of its content. I used to write for Film Inquiry frequently during 2016-17. I'm currently contributing to a new website launching in May 2018, Scriptophobic; my column is titled Serial Killer Celluloid. Contact me at firstname.lastname@example.org or hit me up on Twitter (@fathergore) if you want to chat, collaborate, or have any questions for me. I'm also on Facebook at www.facebook.com/fathersonholygore. Cheers!