Review of “The Wolf Man” (1941)

    “Even a man who is pure in heart
    and says his prayers by night,
    May become a wolf when the wolf bane blooms,
    and the autumn moon is bright.”

    So goes the poem about the wolf man legend that is featured prominently in this film.
    In 1941, Universal started shooting “The Wolf Man”  Unlike “Dracula”, Frankenstein”, and “The Invisible Man”, “The Wolf Man” was not a screen adaptation of a novel.  It was rather based on werewolf legends, with some “new legends” thought up by screenwriter Curt Siodmak - including the poem at the beginning of this post.  Lon Chaney Jr. (birth name Creighton Chaney), son of famous silent horror actor Lon Chaney, got the part of Larry Talbot.  Makeup artist Jack Pierce did the wolf man makeup.
    Instead of just names, the credits at the beginning of “The Wolf Man” show pictures of main characters along with the actor or actress’s names and the roles they played.  Following this are the credits for screenplay, directors and so on.  The film opens with a shot of a row of encyclopedias.  One is taken and opened, and we see an entry on “LYCANTHROPY”.  In the nest scene, Larry Talbot is being chauffeured to Talbot Castle.  Upon arrival he is greeted by Sir John Talbot (Claude Rains).  Larry is Sir John’s son, returned from America after the death of his older brother.
    Later, up in the observatory, Larry works on a telescope.  He looks through the telescope at the town, and focuses in on an open window through which a pretty girl can be seen.  The girl puts on an earring.  Seeing that the window is above an antique shop, Larry goes into town and visits the shop.  The girl, Gwen Conliffe (played by Evelyn Ankers), is behind the counter. Larry says that he is looking for a gift.  He describes to her the earring she was wearing (which she no longer has on), and after she replies that they haven’t any like that, he responds “Oh yes you have, don’t you remember?  On your dressing table, up in your room.”  Mystified, Gwen tells him they aren’t for sale.  Larry goes on to look at canes.  He takes one out with a handle in the shape of a wolf, and a five pointed star on it.  Gwen explains that the pentagram is the sign of the werewolf, and that every werewolf sees it in the palm of his next victim’s hand.  Larry buys the cane.  Gwen, still curious about the earring incident, asks him if he has ever seen her before.  He replies “Of course”, but before telling her where and how, wants her to agree to take a walk with him that night.  She says no, and walks with him to the door.  They see gypsies driving past outside.
    Later, Larry and Sir John briefly discuss the werewolf legend.  In the next scene, we see the door to the antique shop, at night, from which Gwen emerges.  Larry, waiting in a nearby doorway, walks up to her.  She is wearing the earrings he liked, and he has the cane.  Gwen calls to a friend, Jenny, who wants to come with them to the gypsy camp and have her fortune told.  Jenny and Gwen laugh at Larry’s chagrin, and the three set off together.  On the way, they see wolf bane, and Jenny picks some.  Jenny goes in to have her fortune told first.  Larry and Gwen take a walk in the fog shrouded woods.  Larry explains about the telescope.  Gwen tells him that she is engaged.  Larry, however, does not seem terribly discouraged by the announcement.  In the gypsy tent, Bela (played by Bela Lugosi) tosses Jenny’s wolf bane off the table.  When he looks at her palm, he sees a pentagram.  He is visibly upset and tells her to go.  She leaves, and goes running through the woods.  Larry and Gwen hear a wolf howling and then a scream.  Larry runs off to see what is happening and finds Jenny being mauled by a wolf.  Larry struggles with the wolf - which bites him on the chest - and finally kills it with the cane.  Gwen finds Larry on the ground.  A gypsy woman (played by Maria Ouspenskaya) comes along with her cart.  She and Gwen take Larry to Talbot Castle.
    Men go to look at Jenny’s body, and they find the body of Bela the gypsy nearby, and Larry’s cane.  The next day, the constable and a doctor go to see Larry.  He admits to owning the stick and asserts that he killed the wolf with it.  Sir John informs Larry that Bela was killed and his stick was found by the body.  Larry goes to show the wound he received, but it is gone.  Sir John tells Larry that Paul (the constable) wants to ask him some questions.
    “Yeah, go ahead.  But don’t try to make me believe that I killed a man when I know that I killed a wolf!” exclaims Larry.
    Will they believe him?  Will he too become a werewolf?
    Well, I doubt there will be many of my readers who don’t already know the answer to that last question. :) 
    Larry Talbot - who may, from what I’ve written, sound like a creepy, voyeuristic stalker - was played with a gentleness and sweetness by Lon Chaney Jr.  Lon Jr. had something of a childlike quality about him - which served him especially well in his portrayal of Lennie in the film adaptation of “Of Mice and Men”.  In addition to Lon Jr. in “The Wolf Man”, we get performances from Bela Lugosi and Claude Rains, as well as Maria Ouspenskaya and Evelyn Ankers.  Quite the horror roster.
    I have a soft spot for “The Wolf Man”, probably in part because it was, as I recall, my first classic horror film (other than horror comedies, that is).  But I also appreciate it allegorically - it reminds me of the duality within us, of the battle between the flesh and the spirit in the Christian.
    To choose a “most sympathetic monster” from Universal’s roster would be a difficult and probably quite subjective task.  But for me, it might be the wolf man.  After all, who else became a monster apparently as a result of trying to save someone’s life?

Review of “The Invisible Man”

    In 1933, Universal released “The Invisible Man”, based on the novel by H.G. Wells.  Boris Karloff had been proposed for the role of the invisible man, but did not end up playing it due to a contract dispute.  James Whale, the director of the picture, chose Claude Rains, whose distinctive voice would prove a great asset to the role.  This would be the first sound film he acted in.
    The special effects used for the movie were groundbreaking.  One of the processes for achieving the appearance of invisibility involved using a black velvet set, with Claude Rains, or a double, clothed in black velvet  - covering even the head (air was supplied through tubes) - and wearing over that whatever article of clothing the scene called for.  A double was often used as Claude Rains was claustrophobic.  Shots made in this manner were combined with shots of the scene in which the invisible man was supposed to be, making composite shots.
    After the credits, the film opens with a scene of a man walking in a snowstorm.  The man’s face is bandaged and he wears dark goggles.  Next, at The Lion’s Head inn, people are talking, drinking, and playing darts.  The door opens to reveal a burst of snow, and the man with the bandaged face.  The room becomes quiet.  The man walks in and says he wants a room and a fire.  Mrs. Hall (played by Una O’Connor) takes the man upstairs to a room and starts the fire.  The man wants food.  After Mrs. Hall leaves the room, he draws the shade.  At the bar, speculation is going on about the man.  Mrs. Hall brings him supper.  The man declares that he wants to be left alone and undisturbed.  Mrs. Hall goes downstairs and discovers that she didn’t bring up the mustard, so she takes it up.  The man quickly covers his mouth with a napkin and makes it fairly clear he is not happy about being disturbed.
    At a different house, Dr. Cranley (played by Henry Travers) is apparently working with some scientific apparatus.  His daughter Flora (played by Gloria Stuart) comes in.  She expresses concern about Jack - her sweetheart and Dr. Cranley’s assistant. He went away to work on an experiment, and they haven’t heard from by him for nearly a month.  Kemp (played by William Harrigan), another assistant of Dr. Cranley, comes in.  Flora goes into the other room and cries.  Kemp comes in and speaks with her.  He tries to convince her that Jack cares nothing for her, and attempts to declare his own love for her, but Flora is in no mood for that, and tells him to leave her alone.
    Back at the inn, Jack (for that is who the man in the bandages is) is apparently working on an experiment on a table in the rented room.  After he slams the door in her face when she tries to bring in his lunch, Mrs. Hall demands Mr. Hall to tell their unpleasant lodger to get out.  Mr. Hall tells Jack to pack up and go.  Jack implores him to let him stay, but Mr. Hall doesn’t relent, and begins to touch Jack’s things on the table.  Enraged, Jack throws him down the stairs.  Mrs. Hall comes in and begins shrieking and crying and having hysterics (in classic Una O’Connor style).  A policeman (played by E. E. Clive) is fetched, and he goes up to the room and confronts Jack.  Jack tells him to keep back.  The policeman, however, comes in.
    “You’re crazy to know who I am, aren’t you?” says Jack, “Alright, I’ll show you!”
    Having said this, Jack proceeds to remove the fake nose.  Next, he removes the goggles, and unwraps the bandages, laughing maniacally as he reveals more and more of his invisibility.  The policeman and onlookers run away.  The policeman decides to go back up after him.  When he arrives he is met by what appears to be a dancing shirt.  He and a few other men chase it, but Jack manages to get the shirt off, and choke the policeman, then escape through the door.
    At the laboratory, Dr. Cranley and Kemp look for clues.  Dr. Cranley discovers a list of chemicals, one of which is monocain, which he claims is a terrible drug.  He explains that “it draws color from everything it touches”, but when tried out on an animal, it caused madness.  Dr. Cranley thinks Jack might not have known this side effect.  He decides that the police should be told that Jack has disappeared (no pun intended on the part of Dr. Cranley, apparently, as he presumably wouldn’t have known Jack was invisible).
    Jack Griffin, in his drug-induced state of madness, wreaks havoc across the country.  Will anything stop him?
    While we only briefly see Rains, his magnificent voice is, like I mentioned before, a great asset to the role.  We hear the menace at some points, and also the tenderness when he speaks to Flora.  He was so well able to convey a range of feelings in his voice that the ability to read his expressions is hardly missed.
    Dwight Frye makes a brief appearance as a reporter.  There is some humor interspersed throughout - like the bit where a lady runs screaming from a pair of pants that are apparently running or walking down the road.
    Jack Griffin is a sympathetic “monster”.  Desiring to do something for Flora, to accomplish a great scientific achievement, to be more than a poor, struggling chemist, he, in his own view - “meddled in things [that] man must leave alone”, and though he accomplished invisibility, it was accompanied by madness.
    Next, and last for the time, in my monster series  - 1941’s “The Wolf Man”.

Monster Movie Marathon

    Since it is the month of October, and since I recently received four of the Legacy Collection sets of Universal monster movies for my birthday, I’ve decided to do a series of reviews on some of the classic monster films.
    As a child, I wasn’t always very fond of scary movies.  I didn’t watch very many, and most of those I did were comedies.  I loved Abbott and Costello, and their “Meet Frankenstein” film made an impression on me.  I liked my little Dracula, Frankenstein, and Wolf man toys that had come with the kid’s meals at one of the fast food places we’d been to.
    However, I still avoided horror movies as an adult.  But curiosity got to me and I decided to watch “The Wolf Man” and see what the hype was about.  I was glued to the screen (figuratively speaking :) )  Now, I’m a huge fan of the classic horror genre.
    What is it about these films that makes them so great, even after more than 50 years?  If I may be so bold as to venture an opinion on the subject, I think the following are two important reasons:
    Atmosphere:  The atmosphere in these old films is - to be perhaps somewhat cliché - so thick you could cut it with a knife (again, figuratively speaking).  Rather than focusing on tons of blood and guts and goriness, they used wonderfully eerie imagery that seemed to be enhanced by being shot in black and white.
    Excellent acting:  While excellent may not be an adjective to apply to all of the actors in these old films, I certainly think it applies to many.  Bela Lugosi, Boris Karloff, Claude Rains, and Lon Chaney Jr. brought their respective monsters to life (or undeath, as the case may be) on the screen with menace, sometimes pathos, and charisma.  Their monsters could both attract and repel.
    Join me, if you will, as I revisit these captivating classics.  First up on the agenda - 1931’s “Dracula”.