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It is provisionally titled Truth: The Rape of the Two Coreys. Today, Feldman is pacing around his house anxiously because his long-promised documentary, which he wrote, directed and financed, is likely to be delayed yet again because of a problem with the insurance. It would be an understatement to say this has become a crusade for him, much to the dismay of Haim’s mother, Judy, who agrees her son was abused, but says Feldman is exploiting his memory. “He made me promise before he died that I would get the truth out,” says Feldman.
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He is that good.” He was, but instead he became a bloated and bankrupt shell of a man, forced in later years to appear on reality TV shows in which he was so out of it he hardly knew where he was. Reviewing that film, Roger Ebert predicted that Haim would “grow into an important actor. The word was they were given drugs and being used for sex.”Īccording to Feldman, Haim was raped by “a major Hollywood figure” while making the 1986 film Lucas. “The biggest problem in Hollywood,” he repeats, mantra-like, “is paedophilia.” His fellow former child actor Alison Arngrim has said, “I literally heard that were ‘passed around’. After Haim died at the age of 38 in 2010 of pneumonia, after years of painfully public substance addiction, Feldman spoke out about the sex abuse he and Haim suffered in the film industry. Those days are long gone, and now Feldman is better known for something else.
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Girls covered their schoolbooks in Corey stickers, called up the Coreys’ cash-in phone lines, stood outside their homes screaming. He and his fellow child actor Corey Haim – best friends and frequent co-stars – were known as the Two Coreys. That tiny sliver of his childhood that was not ruined by the adults who should have been looking after him.īack in the mid to late 80s, Feldman was known for being one of the most popular teen pin-ups in the world. He’s hugging close the all-too-brief pocket in time when he was starting to get away from his exploitative parents, but before he was sexually molested as a teenager. This is all the fun stuff.”Īnd then I belatedly realise Feldman isn’t showing off his past glories. “The experiences that were bad weren’t working on Gremlins or Goonies. We’ll get to that, but first, I have to ask, doesn’t he find having all these old toys around him a bit, well, depressing? But he’s very solicitous, making sure I have a drink, that I’m comfortable on the sofa, even though he’s having a terrible day.
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He still has that thin-lipped wide grin that made him so recognisable as a child actor, but set alongside his skinny build, it now emphasises his jagged, cracked appearance. It’s hot outside, but he is in a lavishly patterned shirt, a waistcoat and suit trousers. “What a joke!”įeldman, 48, eventually appears and he doesn’t look much less absurd than his house. But standing in his living room I find myself doing what most others do about Feldman these days: “Look at this guy,” I think, giving in to the siren call of snark.
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I was a big Feldman fan back in the day, and maintain that his performance in Stand By Me equals River Phoenix’s more acclaimed one. I haven’t even mentioned the picture of Michael Jackson – with whom Feldman was friends as a child – in the front hallway, greeting you as you walk past. It’s like a parody of how one might imagine a former child star’s house to look: one part Neverland to two parts Norma Desmond.
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And, of course, there are the inevitable posters of his films, including License to Drive and Stand By Me. The bookcases are packed with vintage toys, most still in their boxes, most from Feldman’s own movies: there’s Goonies merch, Gremlins memorabilia, The Lost Boys souvenirs. Feldman’s assistant lets me into the two-storey home in the hills of Los Angeles, and when I walk into the living room I have to bite the insides of my cheeks to stop myself from gasping: hanging above the fireplace is a drawing of Feldman from his 80s teen glory years. A crooked Christmas wreath hangs on the front door, even though it is late January. A t first glance, Corey Feldman’s house looks ridiculous.