An American Werewolf in London


Don't you just hate it when you wake up naked in the woods?

Don’t you just hate it when you wake up naked in the woods?

(1981) Horror Comedy (Universal) David Naughton, Jenny Agutter, Griffin Dunne, Frank Oz, Don McKillop, Paul Kember, Michele Brisgotti, Mark Fisher, Gordon Sterne, Paula Jacobs, Nina Carter, Geoffrey Burridge, Brenda Cavendish, Michael Carter, Lila Kaye, Paddy Ryan, David Schofield, Brian Glover, Sean Baker, Rik Mayall, John Woodvine, Anne-Marie Davies. Directed by Jon Landis

sixdays2016-5

In the early 1980s the werewolf genre underwent something of a renaissance, with gaggles of new films that redefined the genre, including The Howling, Wolfen, Teen Wolf and this horror comedy. Landis, the director of Animal House, used the excessive gore of the period to offset the droll comedy which mostly was character-driven and while it wasn’t a huge hit, it has become an iconic film of its era.

David Kessler (Naughton) and his buddy Jack Goodman (Dunne) are on a walking tour of Northern England. The weather is cold (it’s England, after all) and the hospitality less than exemplary. As they walk out on the moors after an unsettling experience in the pub of a small village, they are attacked by an extraordinarily large wolf. Jack is killed and David badly injured.

David is brought to a London hospital where he is befriended by nurse Alex Price (Agutter) who once David is discharged, puts him up in her apartment since he literally has nowhere else to go. Soon David begins to have disturbing visions and unexplained things begin to happen to him. He wakes up naked in the zoo in an exhibit of wolves, for example, with no memory as to how he got there.

Worse, he’s seeing visions of his buddy Jack who informs him that they weren’t attacked by an ordinary wolf – it was a werewolf that killed him and now David has become one himself. He is also being haunted by the ghosts of his victims who are urging him to kill himself. David is understandably reluctant to do it – he and Alex have fallen deeply in love, after all, and he has a lot to live for but his new condition could endanger the life of the woman he loves. What is he to do?

This is in every sense of the word a horror classic. It is terrifying throughout and even though Landis keeps a light touch, there is always that air of menace and impending tragedy hanging over the entire film. He sets up the werewolf kills beautifully and doesn’t imbue them with camp. Landis clearly has a deep respect for not only the Universal horror films that inspired this but also the British Hammer horror films, although curiously the things that are Hammer-inspired tend to work the least well in the film.

Naughton at the time was best known for a series of commercials for Dr. Pepper in which he danced and sang “I’m a Pepper, he’s a Pepper, She’s a Pepper, We’re a Pepper, Wouldn’t you like to be a Pepper too? Dr. Pepper, drink Dr. Pepper…” Look ‘em up on YouTube if you want to see them. At the time they were pretty popular. There were some who thought he was destined to be a huge star, but it didn’t happen – this was really the nadir of his acting career. Still, he acquits himself well and makes a pretty solid tragic hero. He’s no Lon Chaney however.

Agutter, an Australian actress who also had some notoriety playing the romantic lead in Logan’s Run five years earlier is also strong in her performance. While people scratched their heads that a seemingly pragmatic nurse would invite a total stranger to live with her after knowing him only as a patient (hey, it was a different era), the character is strong and sexy.

Dunne – who went on to a career as a pretty decent director – gets the lion’s share of the great lines. Most of his screen time takes place after he’s dead and it’s a bit of an in-joke that with each scene his appearance gets more and more gruesome. Jack and David have a bit of an early bromance going on and the interactions between them feels natural and unforced; it’s one of the best attributes of the film.

The gore here can be over-the-top, particularly for modern audiences that really aren’t used to it. People sensitive to such things are advised to steer clear; although the comedy does offset it somewhat, some of the scenes of mayhem and murder are pretty intense. The transformation scene in which David morphs into becoming a werewolf is absolutely amazing – even 35 years later. It is one of the best sequences of it’s kind ever filmed and in many ways is the crowning achievement of the great Rick Baker’s career and one in which he deservedly won an Oscar for.

I watched this again recently and have to admit that it actually holds up pretty well. A lot of movies from that era feel dated, but this one is pretty timeless. It remains one of those movies that pops up every so often and when you re-watch it, you wonder why it’s been so long since you’ve seen it. There are a few who don’t care for the film but it remains a favorite for a lot of horror buffs and cinema fans to this day.

WHY RENT THIS: The by-play between Naughton and Dunne is realistic and fun. The film’s transformation scene is perhaps the best ever filmed. Naughton and Agutter give credible performances.
WHY RENT SOMETHING ELSE: The Hammer horror influences don’t really fly as well as they might.
FAMILY VALUES: Plenty of violence/gore, disturbing images, sexuality, foul language and adult themes.
TRIVIAL PURSUIT: This was the first film to win the Academy Award for Best Make-up Effects, a category established in 1981. It remains the only film directed by Landis to win an Oscar.
NOTABLE HOME VIDEO EXTRAS: The original 2001 DVD includes outtakes (without sound) and interviews with Landis and Baker. The 2-Disc Full Moon Collector’s Edition DVD from 2009 as well as the Blu-Ray includes a featurette on Baker and the documentary Beware the Moon in addition to the original content.
SITES TO SEE: Netflix (DVD/Blu-Ray Rental only), Amazon, iTunes, Vudu
BOX OFFICE PERFORMANCE: $62M on a $10M production budget.
COMPARISON SHOPPING: The Howling
FINAL RATING: 8.5/10
NEXT: Six Days of Darkness concludes!

Advertisements

The Quiet Ones (2014)


Sam Claflin perfects his "What's that noise?" look.

Sam Claflin perfects his “What’s that noise?” look.

(2014) Supernatural Horror (Lionsgate) Sam Claflin, Jared Harris, Olivia Cooke, Erin Richards, Rory Fleck-Byrne, Laurie Calvert, Aldo Maland, Max Pirkis, Tracy Ray, Richard Cunningham, Eileen Nicholas, Rebecca Scott, Ben Holden (voice), Aretha Ayeh, Max Mackintosh, Harman Singh, Dean Mitchell, Nick Owenford. Directed by John Pogue

There are things that we can’t explain yet. Phenomena that occur that seem without rational, scientific explanation. Many of these eventually will be explained once you dig deep enough. Sometimes though, our ignorance can be dangerous.

Professor Joseph Coupland (Harris) specializes in abnormal psychology. He has a theory that people who have been labeled “possessed” – people around whom paranormal events seem to occur – have traditionally been institutionalized, or harm themselves or others before that happens actually manufacture these occurrences through the powers of their own minds. Coupland believes that these occurrences are due to strong negative feelings inside and that if you can get the patients to transfer these feelings into a doll or some other inanimate object that they can be cured. “Cure one and you cure the world,” he tells his class at Oxford.

To that end he has a patient – one Jane Harper (Cooke) who has been in and out of foster homes and institutions all her life. She is said to be clairvoyant and haunted by poltergeists. Coupland believes that she can be cured of these issues by manifesting her negative feelings and pushing them into a doll. He is assisted by students Harry Abrams (Fleck-Byrne) and Krissi Dalton (Richards). Documenting it is a graduate, Brian McNeil (Claflin).

This being 1974, the dons at Oxford are none too pleased about the noise (the students keep Jane awake by playing loud rock music at all hours in order to get her into a state where she can manifest) and less pleased still about the subject of Professor Coupland’s thesis. Predictably, they pull their funding.

Enraged but still determined, Prof. Coupland rents a spooky looking house in the English countryside some distance from Oxford. There, isolated and essentially free to do as he wants, he starts working on Jane, keeping her exhausted and locked up to keep her from running away – or harming anyone.

At first, the manifestations are more startling than terrifying – things moving, doors opening, distinct rapping noises. In the meantime, Harry and the oversexed Krissi have become a kind of thing (although Krissi has also shown some affection for the chain-smoking Professor) and the shy Brian and the fragile Jane have also shown signs of attraction.

But things don’t remain this way for long. Tension is beginning to build among all five people, isolated in the middle of nowhere – Krissi likens it to being in a prison. Prof. Coupland has become more obsessive, refusing to admit that he may be wrong about his hypothesis. The manifestations have begun to get more sinister as Jane’s spirit guide Evie, a little girl who apparently died in a fire, has grown more agitated and almost cruel. Brian begins to suspect that there may be something going on beyond what Prof. Coupland can explain. Can he get Jane out of this environment before the experiment goes tragically wrong?

This is the most recent movie by Hammer, the venerable British horror production company that back in the day made the Christopher Lee Dracula movies and more recently, the excellent The Woman in Black. This one was actually completed back in 2012 but hasn’t been released until now. Considering the tepid reviews it’s gotten, that’s not surprising although it must be said that the studio has released movies far worse than this one in the interim.

Claflin has been slowly building up a leading man resume and while he hasn’t broken through with a star-making role just yet, I wouldn’t be surprised if he does sooner rather than later. He has the looks and the charisma although in this particular part he doesn’t really have a whole lot to work with. Cooke and Harris come off as the best of a nondescript bunch. Harris, the son of the late Richard Harris, has settled into a character actor’s lot in life and this is the kind of role that he excels at – officious, smart but corrupt in ways that aren’t always apparent. He is the glue that holds this movie together. Cooke gives us a classic possessed girl performance but adds a touch of melancholy to the role which is the perfect grace note. She’s an English rose, even as unkempt and unglamorous as she is much of this film.

The era of the 70s is captured very nicely, not just with the period audio-visual and scientific equipment but also with the cars, hair styles, clothes and more importantly, attitude. Modern audiences might be horrified at the amount of smoking that goes on in this film, but that was pretty much standard for its time (I lived through it, remember?) and especially place.

A horror film’s job is to scare its audience and the movie is successful at that more often than not, although there is a tendency to rely on cliches of the genre a bit too much. That makes the movie a little bit more pedestrian than it needs to be. I think partly too the filmmakers were waffling between making an atmospheric ghost story with gothic overtones, and making a slam-bang scarefest and wound up with neither. There’s even a “found footage” kind of sequence during the movie that reminded me how overused that particular genre has become. However, the climax while not breaking any new ground delivers one of the best scares of the film which goes a long way to redeeming some of the films more glaring faults.

This isn’t a bad movie; it’s well-acted for the most part, delivers some nice scares, shows off some young female breasts and is spooky and atmospheric at times. It just isn’t particularly innovative nor is it going to kick you in the seat of your pants with its scares nor is it going to creep you out with its atmosphere. At the end of the day the movie ends up being blander than most horror audiences – including me – tend to like.

REASONS TO GO: Some decent scares. Captures time and place adequately.

REASONS TO STAY: Relies on horror film cliches overly much.

FAMILY VALUES: Plenty of terrifying moments, some violence, bad language throughout, some sexuality and brief nudity.

TRIVIAL PURSUIT: Loosely based on the Philip Experiment which took place in Toronto with eight participants.

CRITICAL MASS: As of 5/7/14: Rotten Tomatoes: 34% positive reviews. Metacritic: 41/100.

COMPARISON SHOPPING: The Legend of Hell House

FINAL RATING: 5/10

NEXT: Jodorowsky’s Dune