What if...? is the central question to any writer. First you write what you know, then you ask 'what if...?'. I never thought a seriously thrilling psychological movie would - at least in my mind - spawn from an episode of To Catch A Predator. It is difficult to make a movie with a moral or societal message that doesn't come off as biased or preachy, and given today's climate, it is probably suitable that a movie like Hard Candy was made in the mid-'00s, just on the precipice of artistic expansion, mere years before the populace apparently became too precious to take a joke, or to acknowledge genuine social commentary when it presents itself. I cannot imagine a movie like Hard Candy being made either today, or even five years ago. It is sometimes terrifying how quickly the societal landscape evolves, and often not for the better, especially when it comes to freedom of artistic expression.
Hard Candy is an amazingly intelligent, sensitive and thrilling movie that is effectively a 90-minute two-hander of intense conversation, like Educating Rita or Venus in Fur. Elliot Page plays Hayley, a fourteen-year-old girl who meets middle-aged photographer Geoff (Patrick Wilson) on a chatroom, and gets together with him at a local coffee house. They hit it off and she talks him into taking her back to his place, where things take an unusual and *SPOILERY* turn. Hayley roofies Geoff and he wakes up in a slightly less horrifying scenario than the fellas in Hostel: tied to a chair, threatened with bodily harm... and accused of child abuse. Hayley has targeted Geoff as a predator, but once he is subdued, the identity of the predator is suddenly up for question.
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| I thawt yew wawnted to be shayved... down thayr |
It is rare, as the writer and director of this picture both remarked, for a movie to be so succinctly summarised, but as is often the case with character-driven pieces, plot is not necessarily pertinent. Almost Famous and Me Without You are two examples that spring to mind of one-line-plot movies that find their momentum in their immensely detailed characters, who feel like real people. Although Hard Candy is much harder-hitting material than either of these movies, it is essentially a character profile with genuine dramatic tension. Hayley is a vigilante and Geoff is a sinner of the worst kind who tries to spare his reputation the truth right until the end. It could work well as a stage play in its excellence with dialogue and characterisation, and purposeful use of literal frames to reflect the photographic lens through which Geoff allegedly sees the world.
Hard Candy hangs heavily on its two leading actors, and they carry it with simultaneous ease and torment. Page, given the duality of Hayley, is required to craft a base character, and an alter ego masquerading as a naive teenager, and it is eerily effective. She shows little glimmers of flirtation and precociousness, while maintaining an adolescent naivete; later she suggests entirely through facial expression that her character was molested as a child, and sees this whole ordeal as retribution for not only herself, but for every other young person who was ever victimised. Wilson, meanwhile, runs the gamut of emotion, and is essentially the characterisation of the audience itself, reacting to the each new twist of the ordeal he finds himself in. Importantly, he never once shows true evil to anybody. He goes through flirtatious manipulation, lust, confusion, anger, mortal fear, rage, guilt, submission, but he never lets us see the side of him that caused Hayley to target him in the first place. He is a real, complex person with many layers, and Wilson's performance is nothing short of athletic.
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| For tonight is the night that my beautiful creature is destined to be born! |
Not only is this movie an intense emotional ride, but it is like wandering through a chic, minimalist art gallery to look at. Everything has a sleek Scandinavian flavour to it, with expressive pops of colour hinting at some thematic undertone. Indeed, the opening credits are a simple shifting of a single red shape among a variety of white backgrounds, suggesting a small but lingering figure stalking just beyond the periphery. And not for the first time, we are forced to consider who this figure really is. Perhaps their identity depends on what sort of a person is looking. Those with devious skeletons in their closet may see that figure as the reason they still look over their shoulder every day. Those of a more innocent nature might consider it the unremarkable perpetrator of terrible cruelty.
