Candy

This movie or better it's premise is completely dependent on it's actors. If they wouldn't deliver, the movie would fall apart. Just because it does not have the strength of a complex story and is character driven.

But if you see it as an character driven story, as you should, then you will be amazed by the two lead players (and Geoffrey Rush). I wasn't so sure about Heath Ledger, because of his teen comedy past, but this guy can act. If you don't believe that, watch this movie! And sure enough, he will leave his mark on the Batman franchise too (the upcoming Dark Knight Sequel).

But be also aware of the fact, that this is a drama about drug addicts. If you cannot cope with that, don't watch the movie!

'Candy' will probably garner several AFI awards later this year. Ledger is Dan, a troubled and likable juvenile-come-poet who is in love with Cornish's Candy, a sometimes-practicing artist who falls head first in love with Dan and heroin. Ledger's understated performance gives Dan a boyish vulnerability that would otherwise leave him less sympathetic. And his ability to use his face and especially his eyes to communicate Dan's uncanny reluctance is both staggering and understandable. There are many moments where silence is used to express emotions in this film and Armfield deserves to be commended for his restraint and trust in his actors and the narrative. The script by co-writer and author Davies is decidedly different from the novel but nonetheless strong and taut. It's rarely melodramatic and has been manipulated more for it's performers and their execution on screen rather than resigning itself as merely an adaptation of a great novel. The result here provides superb cinematic balance. Cornish too is brilliant, often abrasive as the troubled artist. Rush is also amazing and understated as Casper, Dan's older homosexual friend. Hazelhurst reprises her role in 'Little Fish' but to less effect. She is great, but those who have seen 'Little Fish' will find her casting a little too convenient. Martin too is good with the little he is dealt. The only thing that stops 'Candy' from being superb is the material. It is too familiar and the characters are too stereotypical. Had this film been made before countless others in the 'drug-film' genre this would have been more refreshing (although the denouement is a much welcomed change). But sadly it isn't. This in turn is nobody's fault. It's just been exploited too many times. The only thing that isn't stereotypical is Dan who is the backbone of the narrative. Ledger has made it his own and could have mimicked any drug-stricken angsty protagonist the 'genre' has spat out. Instead he has made him a hero.

Despite a couple of good reviews, I approached this film with foreboding. Movies about junkies in love, taken from searing autobiographical first novels are usually not what I would call entertaining, though there have been worthy earlier Australian efforts such as "Winter of Our Dreams" (with Judy Davis and Bryan Brown) and "Monkey Grip" (which starred Noni Hazelhurst and Colin Friels). As "Trainspotting" showed it is possible to be light –hearted about drugs and addiction but the storyline here is far from cheering and there is no Hollywood-style happy ending. However it did not turn out as gruesome as I feared it might.

This was partly because of two stunning performances by Heath Ledger and Abbie Cornish as the not very happy couple, Dan and Candy. Somehow, Heath got it just right as the shambling, disorganized, would-be poet, who is nonetheless capable of pulling off an effective scam when required. Abbie gave us a beautiful, headstrong and dangerous Candy. Their scenes together are as intense and as convincing as you will get in the movies. They were both well supported by Tony Martin and Nonie Hazlehurst as Candy's parents and Geoffrey Rush as their supplier and friend Casper. Geoffrey Rush is a dangerous actor to use in a supporting role because of his ability to steal scenes, but he produces a wonderfully ambiguous character as a counterpoint to the intensity of the leads.

Caspar makes an interesting remark about drug usage: "When you're on it you don't want to stop, when you want to stop you can't." Artists have particular trouble since they see drugs as feeding creativity. Even so, some people break the habit. I hate to use the term "self–discipline" but that and the support of those close to you seem to be crucial factors. Being in love with another addict does not seem to be a great help, for obvious reasons. The Thought Police will be pleased that drug-taking is not glamourised and Dan and Candy's experiences are a mite painful, but the movie does not take a judgmental stance. If we had to have another movie about junkies in love, this is the one.

You could write this off as another story about addiction and the destruction resulting from it, but there's more here. The love story between Ledger and Cornish is a constant throughout, with a great line on how their addiction affects not only their own relationship, but their relationships with others: parents, friends, acquaintances.

Abby Cornish is especially good as the art girl turned junkie prostitute; her fall into addiction and the changes it makes in her life are much more effective than Ledger's portrayal of a junkie in love.

The parents in the movie are excellent, from subtle facial expressions to drag-out fights with their dope fiend daughter. They act much as you would expect parents to act, or at least hope they would act.

The ending dropped the ball a little, but maybe they ran out of budget. In any case, I would watch it again. It's realistic, gritty, romantic and a good case study of how drugs can ruin the most intense love.

What a gripping film this is, not because of the enormous tragedy of its characters, but because of their goodness. Another user suggested ''Trainspotting'' meets ''Romeo + Juliet'' which I believe is an apt summary of Neil Armfield's Aussie gem Candy – the kind of film that takes you and shakes you with harrowing bleak portrayals juxtaposed with the euphoric state of romance. Although it is not devoid of faults, the film trumps most other films I've seen this year at the Stockholm Film Festival because of sheer emotional impact.

But Candy opens on a hypnotic note of false security; lovable slacker Dan (Heath Ledger) and bohemian art student Candy (Abbie Cornish) indulge in drug-induced games, smiling, laughing, kissing, even playing with children. In the next scene Candy almost ODs in the bathtub, and the film bravely swoops down and offers us a look at something infinitely more unpleasant: drug addiction. Indeed, 'Candy' was largely being advertised as a romance for reasons I cannot pretend to understand, other than perhaps the shock factor in abandoning gushy romance for a bruised reality. The truth of the matter is that it offers one of the most unflinching looks into seedy junkie lives since Reqiuem For a Dream.

The cast give fine and sometimes even excellent performances. Geoffrey Rush lends his dutiful Aussie charm to the supporting role of an 'accidental mentor' of sorts to Dan and Candy – "the father I always wanted, the one who buys you fizzy drinks and candy", remarks Dan in the introduction and we thereby know early on that his character is perhaps not a flawless or ethical one. Ledger is constantly pending between likable and loser in the film, and it is thanks to his apt narrative of events that he remains so well centred in the heart of 'Candy' (which should rightfully be titled 'Dan'). As a clever technique by first-time director Armfield, Ledger's soft-spoken narrative becomes punctured, mercilessly abandoning us in a time when we need it the most – when the seedy circumstances become too dire.

But the big surprise is Abbie Cornish who is now regrettably stirring up more buzz with the Phillippe-Witherspoon split than with her remarkably bruised performance as the tragic heroine, Candy. She captures the escalating despair, desperation and nihilism of her character effortlessly and translates it with great emotional transparency. Soon she has resorted to full-time prostitution to get money for hits, and it is just heartrending. In particular there is a poignant and emotional scene with Candy and her father embracing after a shocking bit of news that cements the chaos Dan and Candy have gotten themselves in.

Interestingly enough, 'Candy' is explicitly divided into three titled segments that pop up on the screen: heaven, earth and hell and it does a great job at portraying all three, uninhibitedly navigating the contrasts that form at their transitions. The soft-spoken words, love-making, drug-induced romantic euphoria and intimate caressing of the 'heaven' segment render 'hell' all the more harrowing, although I must remark that I found 'earth' to be by far the most graphic and difficult to watch. This can best be attributed to the scenes in which Dan and Candy try to lose their heroin addictions and lay suffering for days on a mattress, Trainspotting-style.

In the end, 'Candy' remains – much like its peers, a cautionary tale of the horrors of drug life and how addiction can mess you up, and mess with relationships. Although there are few discernible flaws that jump out and grab you, the attempted humour simply isn't in-tune and it is needed as a tension-easer at times. Owing to this, Candy sadly offers little light at the end of the tunnel and it is far too easy to lose yourself in the gloom hopelessness. Yet most of this is compensated for by great performances of intrinsically good people that you cannot help rooting for, as Dan says: "Everything we ever did we did with the best of intentions."

8 out of 10