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Marzo 11th, 2010 by danielle8850654
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1981 was The Year of the Werewolves…the furry fiends leaped onto movie screens in three major films: “The Howling,” “Wolfen,” and the classic of the genre, “An American Werewolf in London.” There has never been a greater werewolf film, there has never been a better transformation scene, and few anxiety movies can match the challenging mixture of humor and scares that writer/direction John Landis (”Animal House,” “The Blues Brothers”) achieved here.
Although there had been humor in anxiety films before this movie, “An American Werewolf in London” showed once and for all that having comedy in a awe film didn’t mean that the film would lose out in the alarm department. Landis makes it definite that the film is NOT a comedy — the awe scenes are carried with dead-seriousness and monstrous impact — but there is so remarkable quirky humor surrounding these scenes that the film becomes incredibly likable and buoyant. Most of the laughs advance from seeing the frail movie werewolf premise dropped into the fresh day and watching the characters try to deal with it.
Actors Griffin Dunne and David Naughton, neither of whom had been in a movie before, perform a fantastic ‘ordinary guy’ feeling to their characters of two young American boys backpacking through Europe. In rural England, they have a rotten encounter with a legendary monster, and Naughton faces the consequences of being bitten when he returns to London and takes up living with a beautiful nurse (Jenny Agutter) .
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The transformation scene is justly noted and a milestone in visual effects. Make-up wizard Rick Baker lets the viewers leer a real-time twisting of a human body into a wolf shape: limbs stretch, snouts pop, hair grows, the body contorts…it’s fantastic to gaze. (And on DVD, you can stare it over and over and over again) . Even computer graphics can’t accomplish an execute as startling as this one.
This DVD offers some nice extras. The image is estimable, and the 5.1 Surround Sound is decent (although there’s not a lot of assist speaker sound) . Actors Naughton and Dunne do feature commentary on the film, and provide some enthralling information and sound as if they were having a titanic time reliving the experience. I wish that Landis had been on the commentary as well, but you can hear his thoughts on the film in an 18-minute interview. Landis is an absolute hoot to listen to; the guy is as amusing as his movie, and he absolutely bursts with ideas and observations. To go along with the Landis interview is an 11-minute interview with make-up maestro Rick Baker. He provides a engaging notice at crafting what he calls “the coolest werewolf film ever made.” Also included is a vintage featurette on the making of the film, although it’s only about five minutes long (but you acquire more of wise-cracking John Landis), ten minutes of archival footage of Baker making a cast of David Naughton’s hand, and an assortment of storyboards, outtakes, and production photos.
“An American Werewolf in London” is a major turning point in dismay films and visual effects — and even over twenty years later, it is collected one of the most exciting movies of its decade. It hasn’t customary at all, and this DVD lets you experience it the method it should be seen (and in the company of wild-man John Landis!)
This is one of the few movies that have consistently given me nightmares since I was a child. It is at least a decade ahead of its time. Most of the negative criticisms that I have read utilize the word “uneven” a lot. Even Roger Ebert, whom I treasure, claimed that the humor and the terror were an uneasy mix. This was years before he gave the movie Weep a determined review. Now I LIKE the movie Yell, but there is no contrivance that one can claim that it gets the balance true whereas Werewolf gets it infamous. Bawl simply benefits from occurring in the cynical nineties - Werewolf suffers from being avant guard. .
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The unique DVD has a few superior extras on it - especially a recent interview with Landis. Even after all these years, the film tranquil holds up. Unlike most films, I contemplate more things in it the more I ogle. What, for instance, is up with the townsfolk of East Proctor and what is their relationship with the fresh werewolf? My guess - they brought it on themselves somehow. Maybe one of their contain ran over a gypsy and was cursed. Instead of killing the bloke, they all determine to screen beneath the pentangle in The Slaughtered Lamb every bulky moon.
I am recently returned from England and this movie is listed in Fodor’s as one of the films that best showcases London. I heartily agree. I visited the cross tube finish at Tottenham Court Road and it aloof looks considerable the same as when the David made his raze there. And as I walked, alone in the countryside, beneath the light of the plump moon, I had to ask myself, “Am I crazy? ” Fortunately, I made it to the pub. There I waited, beneath the pentangle, for my friends to travel me home.
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