Stories about the cruel annihilation of physical, emotional and spiritual lives that follow addiction to drugs appear to be constant sources for films. If seeing the destruction of people's lives when they become addicted to drugs helps those who are on the teetering brink of trying heavy drugs to avoid the fall, then these films are well worth the making. Yet if the constant barrage of stories such as this one fails there, then the reason for continuing this line of film-making is questionable and wearing. Such is the case for this very well acted, directed and produced little film from Australia.
Based on Luke Davies' novel "Candy: A Novel of Love and Addiction" and adapted for the screen by Davies and director Neil Armfield, this story is divided into thirds: heaven, earth, and hell, unfortunately leaving the audience in the final category. Dan (Heath Ledger) is a poet who drifts around living off loans from friends. He is deeply in love with young artist Candy (the very beautiful and talented Abbie Cornish) and together they use drugs, advancing to heroin through the encouraging pastime of Professor Casper (Geoffrey Rush) who manages his addiction rather well and maintains a live-in lad Jorge (an impressive little debut by Roberto Meza-Mont). Dan and Candy explore their passion and love with the enhancement of drugs: this is the 'heaven' segment. But their disconnected relationship is questioned by Candy's parents (Tony Martin and Noni Hazlehurst) and when Candy announces their engagement, her parents fear the lack of character that Dan represents. Dan and Candy marry, now completely addicted to drugs, live in a ware house, and without income Candy turns to being a hooker and Dan tries to become a male hustler with out success, finding it easier to steal credit cards and explore fraud: this section is 'earth'. Candy becomes pregnant and the couple decides to go clean, suffering together the withdrawal that eventually leads to Candy's miscarriage, an event that breaks the spirit of everyone around them. They see the need to be clean and they move to a shack house outside Melbourne where they attempt to find a new start only to go back to drugs (hell episode has started) and Candy descends into psychosis, gradually ending up institutionalized. Drugs have fractured Dan's and Candy's love, their family ties and even their relationship with Casper and the few other friends they have.
The film is unrelentingly dark except for the few moments in the heaven portion when the passion and love of the couple is radiant. Ledger and Cornish are superb if a bit flat due to the storyline, Rush delivers his usual fine acting and Martin and Hazlehurst show significant talent in tough roles. The problem with the film is its overdrawn length about a situation that changes very little: there is no arc to the storyline, just a constant unrelenting descent in to the abyss of self-destruction that accompanies the devastation of drug addiction. But if the viewer doesn't mind a story with no light at the end then this is a very well done film from a solid crew. Grady Harp
Based on Luke Davies' novel "Candy: A Novel of Love and Addiction" and adapted for the screen by Davies and director Neil Armfield, this story is divided into thirds: heaven, earth, and hell, unfortunately leaving the audience in the final category. Dan (Heath Ledger) is a poet who drifts around living off loans from friends. He is deeply in love with young artist Candy (the very beautiful and talented Abbie Cornish) and together they use drugs, advancing to heroin through the encouraging pastime of Professor Casper (Geoffrey Rush) who manages his addiction rather well and maintains a live-in lad Jorge (an impressive little debut by Roberto Meza-Mont). Dan and Candy explore their passion and love with the enhancement of drugs: this is the 'heaven' segment. But their disconnected relationship is questioned by Candy's parents (Tony Martin and Noni Hazlehurst) and when Candy announces their engagement, her parents fear the lack of character that Dan represents. Dan and Candy marry, now completely addicted to drugs, live in a ware house, and without income Candy turns to being a hooker and Dan tries to become a male hustler with out success, finding it easier to steal credit cards and explore fraud: this section is 'earth'. Candy becomes pregnant and the couple decides to go clean, suffering together the withdrawal that eventually leads to Candy's miscarriage, an event that breaks the spirit of everyone around them. They see the need to be clean and they move to a shack house outside Melbourne where they attempt to find a new start only to go back to drugs (hell episode has started) and Candy descends into psychosis, gradually ending up institutionalized. Drugs have fractured Dan's and Candy's love, their family ties and even their relationship with Casper and the few other friends they have.
The film is unrelentingly dark except for the few moments in the heaven portion when the passion and love of the couple is radiant. Ledger and Cornish are superb if a bit flat due to the storyline, Rush delivers his usual fine acting and Martin and Hazlehurst show significant talent in tough roles. The problem with the film is its overdrawn length about a situation that changes very little: there is no arc to the storyline, just a constant unrelenting descent in to the abyss of self-destruction that accompanies the devastation of drug addiction. But if the viewer doesn't mind a story with no light at the end then this is a very well done film from a solid crew. Grady Harp