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The Wolf Man and the Haunting Lore of the Werewolf

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Originally I set out to compile a list of my favorite werewolf movies to watch around Halloween but so much time was spent talking about one film in particular that it’s become the whole of the subject. So the beast is making his demands, my Nasties and I must follow. Come with me if you dare as we traverse the darkened world of shapeshifting demons and travel under the full moon to discover The Wolf Man.

Creating the Werewolf

There is a unique comparison between the Wolf Man and George Romero’s Night of the Living Dead. Bear with me because this is how my manic mind works. By comparisons I mean both films took already established monsters and spun a brand new lore around them thus laying fresh groundwork to a previously unexplored lore to these creatures. Just as zombies existed before Romero numerous legends were abounding around werewolves. And yet, just like how Romero taught us what a zombie is really meant to be, The Wolf Man established our modern concepts about the lore of lycanthropy.

That’s something that fascinates me.

image courtesy of Universal

The transformation by a full moon, the werewolf curse being passed on via a bite, silver (be it bullet, sword, or, in this film’s case, cane handle) being the only means to end the monster’s life, are all concepts stemming from Universal’s horror classic, The Wolf Man.

Universal was already known as the House of Monsters and was enjoying plenty of success thanks to previous horror films based on classic gothic literature. From the very start, Lon Chaney mortified audiences back in the silent era by his morbid depiction of Quasimodo in The Hunchback of Notre Dame. But it was his sovereign portrayal of the love-sick and ghoulish maestro of midnight terrors in the immortal Phantom of the Opera that secured his legend upon the pillars of culture.

image via IMDB, Lon Chaney, ‘Phantom of the Opera’

Following this gothic trend (wisely) the studio rushed to adapt both Bram Stoker’s supernatural vampire romance, Dracula, along with Marry Shelly’s imperial masterpiece, Frankenstein. Universal brought both classics to the big screen but with them came a new instrument of terror: sound! Dracula was the first horror film to speak and Stoker’s legendary book was never more alive with a fresh flow of ghostly un-life.

However, unlike each film hitherto mentioned, there was no novel to base the Wolf Man off of. This time around it was largely up to Curt Siodmak’s screenplay to bring lycanthropy to the cinema. Siodmak was tasked with nothing short of creating a new mythology for an ancient demon of the night.

Personally, I would have turned to old European tales of superstitious hysteria given rise during the maniacal witch-hunting days for inspiration. In short, I would have botched the whole project up too.

Woodcut of a werewolf attack by Lucas Cranach der Ältere

With a stroke of brilliance, Siodmak dipped into a very personal horror story for inspiration required for this new monstrous hit. Siodmak was a Jewish immigrant who narrowly escaped the sudden hostility given rise in Germany against his people. In an almost overnight change for the worst, he saw people marked by a star, sealing them to a doomed fate. He also saw neighbors he’d lived among for years turn savage and cruel.

He saw human beings transform into something beastly.

These would become powerful motifs in his screenplay about a man cursed with the mark of the pentagram star, the mark of the beast, and accursed to a fate he could not escape. His existence becomes one of fear, superstition, and uncontrollable violence.

The doomed hero of the story would become the hated enemy of the countryside. He would hunt down and slaughter those he loved and nothing short of death could save him from damnation.

These reflections of personal horror play out in the film and give depth to the tragedy of Larry Talbot (Lon Chaney Jr.) who is bitten by a werewolf in an attempt to save an innocent life.

image courtesy of Universal Studios. ‘The Wolf Man’

Pause a moment and consider that. In an act of selfless good, Talbot puts his own life in harm’s way by throwing himself between a victim and a ravenous wolf. The wolf Talbot wrestles is not of this natural world though and is an accursed being under the Moon. Amidst the scuffle, Talbot is bitten and the curse is transferred, and thus another innocent man becomes a shape-shifting lunatic.

Bringing the Land of the Werewolf to Life

The Wolf Man has an all-star cast of Universal heavyweights. Bela Lugosi (Dracula, Son of Frankenstein) plays the role of a gypsy hiding the secret curse of the werewolf. Claude Rains (The Invisible Man, Phantom of the Opera) plays senior to Lon Chaney Jr.’s Larry Talbot. Senior Talbot’s is the voice of wisdom in a world furnished with gypsy legends and wild superstition.

Hands down though the single-most-important role – that of the old gypsy woman –is played by Maria Ouspenskaya. Such a meek and mild little lady, but she is the power behind the film’s legend. She is our source of knowledge into the secret legends of occult powers, things modern man has woefully neglected. She is the perfect balance to Rains’ character of reason and science.

 

Jack Pierce returned back to bring life to Universal’s brand new cinematic monster. Already famed for his ghoulish masterpieces in Frankenstein, Bride of Frankenstein, and The Mummy, Pierce worked his magic once again and gave the Wolf Man his signature look. For Chaney Jr. the process was a miserable – and oft times agonizing – experience. It was not said that Jack Pierce fairly cared for actors’ comfort once they sat in his seat.

image courtesy of Universal Pictures, Lon Chaney Jr. and Jack Pierce, ‘The Wolf Man’

To Jack, actors were a canvas for his dark imagination. To bring life to the werewolf Pierce applied yak hair to Chaney Jr’s face and would then singe the hair with extreme heat. After hours of putting up with that kind of treatment, I think I’d be a bit pissed off too!

The sets of the film are locked in a haunting atmosphere of mystery as we’re taken to misty moors, nighted woods, ruined graveyards, and, of course, the gypsy caravan. Honestly, it just feels like a film made for Halloween time.

Some may look at the movie with a critical eye today or simply overlook it in favor of other werewolf films, but to me, this one is pure Halloween fun at its finest. Had it not been for Wolf Man we wouldn’t have Silver Bullet, The Howling, or American Werewolf in London to enjoy today. This is a horror classic deserving of our respect if for nothing else than its deep influence over our culture today.

image courtesy of Universal Pictures

We understand werewolves because this movie taught us the rules. So as you’re planning out your Halloween marathons I promise The Wolf Man will be a very welcomed addition.

Now get out there and party like gypsies, my Nasties! And if you hear me howling under a silver moon you might want to start running for your lives. I promise I’ll give you a head start…hehehe.

Wolfy Final Notes!

The Wolf Man has undergone two remakes that are worth mentioning. Well maybe worth mentioning. Oh, screw it we’re this deep in, let’s do this.

Wolf (1994)

Starring Jack Nicholson (The Shining, One Flew Over the Cuckoo’s Nest, Batman) and Michelle Pfeiffer (Batman Returns), this re-telling was sparked by the enormous fame of Bram Stoker’s Dracula and came out in the 90’s craze to remake the classic monsters with a new stylized take on them. Wolf brings the legend into a more modern age and we get to watch Nicholson turn into a wolf!

Not to sound like a dick but that’s pretty much all that this film has going for it. I like this movie and was excited to watch it back when it came out, but I was a kid starving for monsters in the ’90s. This isn’t really a monster movie and it’s not a horror film, not in the classic sense. It’s a supernatural thriller and drama. It’s not going to satisfy the gorehound. Still, for the curious viewer, it’s worth a watch.

The Wolf Man (2010)

The studio that gave us the original werewolf classic returned to the lore wanting to bring back the beast with modern makeup and effects. Legendary artist Rick Baker (American Werewolf in London) was brought on board to bring us a new Wolf Man. Sadly though the film was given a lukewarm reception. Audiences were not impressed by the use of CGI and really had a problem with the lead’s casting going to Benicio del Toro.

The film also stars Hugo Weaving (The Matrix trilogy, Lord of the Rings/Hobbit trilogy) and Anthony Hopkins (The Silence of the Lambs, Red Dragon, The Rite). I saw this when it came out and honestly, did like it. I didn’t understand why so many snarled up their noses at this one. Oh well, that’s how it goes sometimes.

I recommend this one because it’s a fine monster flick. It’s a nice retelling of the original tale, gives viewers plenty of ferocity to enjoy. In short, it does not shy away from giving us monsters.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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