R.I.P. TONY TODD

You'll always be remembered as Danielle Robitaille, the Candyman, in the film adaptations of Clive Barker's chilling work, as well as for your roles on Star Trek: The Next Generation and Deep Space Nine, but of course, you dominated other powerful and imaginative sources, which continue to resonate with fans. 

Among the awe-inspiring queue is Night of the Living Dead 1990; Night of the Living Dead: Darkest Dawn (game); Zombies; The Strange Case of Dr. Jekyll and Mr. Hyde 2006; Frankenstein 2015; The Crow 1994; Wishmaster; Final Destination; Final Destination II; Final Destination 5; Final Destination: Bloodlines; Devilreaux; H.P. Lovecraft's Celephais; Voodoo Dawn; Scream at the Devil; Army of the Damned; Hatchet; Hatchet 2; Tales from the Hood 3; Werewolf (Fox series); Minotaur; Beastmaster III: The Eye of Braxus; Scarecrow Slayer; Shadow Builder; Hellblazers; Platoon; Transformers: Revenge of the Fallen; Scream: The Series; The Orville (series); The Flash: CW Series (as Zoom); Smallville; The DC Animated Universe Series (as Darkseid); Marvel's Spider-man 2 Video Game (as Venom); Hercules: The Legendary Journeys; Sleepwalk; Steam: The Bunker; The Nana Project; 84 Charing Cross Road; Bang! You're Dead; Bird; Colors; Bitch Ass; Keeper of the City; Catfish Christmas; Dixieland; Lean on Me; Sunset Heat; Excessive Force; The Rock; Given; Them (TV movie); Heart of the Beholder; Chicago Massacre: Richard Speck; The Man From Earth; Dark Reel; Nite Tales: The Move; 24 (series); 24: Redemption; Penance; Bryan Loves You; Sky Sharks; The Mannsfield 12; The Eyes of Samir; Prelude to Axanar; Badland; The Final Wish; The Thirst: Blood War; Jack the Reaper; and a significant sum more. 

You always knew how to strike the right chord with nuance and identifiable strength, sealing your impact with a marked kindness to your fans. (I'll always treasure the Frankenstein DVD you signed for me.) God bless you, Mr. Todd. Enjoy your stay in eternity, knowing you'll always hold a warm spot in our hearts. 

I saw Frankenstein Modernized...

A short time prior to Paul McGuigan's “Victor Frankenstein” (see Nov '15), writer/director Bernard ("Candyman") Rose conjured his own Mary Shelly adaptation: a modern-day one, told from the Monster’s perspective. Its supporting imagi-movie cast also characterizes it, with Tony (the Candyman, himself) Todd; Carrie-Anne (“Matrix”) Moss; and Danny (“30 Days of Night”) Huston.

Contrary to what one might expect of a modernization, “Frankenstein (2015)” (now available for home viewing) remains in tune with Shelly’s novel and at times, mirrors James Whale’s film version and its sequel, with a significant plot component culled from Jack Smight’s “Frankenstein: the True Story”.

The Monster, otherwise known as Adam, and portrayed by Xavier Samuel, is initially an attractive, childlike entity, but a gene malfunction deforms him (represented by Randy Westgate's disturbing make-up). Because of his degeneration, there comes a point where Victor Frankenstein (Huston) decides to euthanize Adam, even though his wife, Marie (Moss) has reservations. Victor nevertheless requests his assistants to dissect the creature, but Adam will have none of this and with playful, gruesome delight slays those who would otherwise slay him. 

Adam flees the facility, into the woods, where he befriends a resourceful dog, and for a time, the two hunt and nurture each other, before finally venturing into a nearby town. They come across a little girl (Mckenna Grace): an encounter that leads to a tense refashioning of Karloff's famous "flower scene", but in this instance, there are witnesses to the event, which inspire the frantic police and a riotous mob to assault the confused creature. 

Adam escapes, wandering through a number of unpleasant interludes, including a violent encounter with an unethical officer (Jeff Hilliard), until he finds himself in the urban outskirts, where he meets a blind, street musician named Eddie (Todd). Eddie pities his abused companion and takes him under his wing, teaching him how to speak and reason, but the arrangement turns ugly after he introduces his friend to a prostitute named Wanda (Maya Erkstine).

Adam grows weary of his doleful state and decides to track down his maker. He also remembers the consoling Marie (whom he considers his "mommy") and yearns for a reunion, but she, too, is now inclined to reject him, and from there, the story reaches its tragic fruition. 

Samuel's performance (accompanied by his whispery narrative) contributes significantly to the film's air of despair, his displays of bewilderment comparable to Terence Stamp's in "Mind of Mr. Soames", with hints of Karloff and Michael Sarrazin along the way. Though Samuel's creature isn't as towering as other film Monsters, his projection of unassailable strength often makes him more intimidating than his taller counterparts.

Huston, Moss and Todd are impressive as well, with Huston exuding worrisome deceit and Moss radiating angelically throughout (her expressions lovingly captured by Rose and Candace Higgins' dreamy cinematography). Todd's approach is laid-back, but he also offers a streetwise cragginess, which complements the rough environment that he and Adam inhabit. 

Rose's realistic approach also reaches sadistic heights at various points: the splatter portion exceeding that of Hammer's franchise, though never culminating in the full Grand Guignol of "Warhol's Flesh for Frankenstein". Nonetheless, watching Adam effortlessly smash an opponent with his bare hands will leave the stronghearted spellbound, and for the squeamish, give cause to turn away.

There have been other acclaimed updates of Shelley's story (the cultish Dean Koontz saga immediately comes to mind), but most deviate from the literary source and become their own thing. What's nice about Rose's version is its ability to redefine aspects of the story, while still nurturing a traditional outline.

I certainly didn't anticipate such a successful blend, but because of it, "Frankenstein '15" has earned my respect. It could have played solely on the novelty of its current-day setting, but instead (as any quality adaptation should) works on various emotional levels. It's refreshing, familiar and daring: worth a view for any mature Frankenstein aficionado and certainly worthy of anyone who appreciates depth in their monster movies.