Der Tod hat schwarze Krallen

You really had to be a teenager in 1957 to appreciate the effect this movie had on teens back then. Elvis was just starting out and there are similarites to the reactions of adults and teenagers to both icons. (In fact Yvonne Lime was "dating" Elvis (pictures of Elvis and Yvonne together were in movie magazines back then) when this film was made and from what I understand, he even visited the set. Too bad they couldn't have had him sing a song in it!) There is an amazing backstory AMC could make about the senate hearings on juvenile delinquency and this film; the senators mentioned the bad effects this film had on teenagers even though none of them had seen it!

Anyway, Gene Fowler Jr (who had edited Academy Award films like LAURA) was chosen to direct this, his first film and although he at first had second thoughts about doing it, his wife convinced him "no one would see it anyway." Boy, was she wrong! His background as an editor helped him be a better first-time director than most and helped make this picture, made on a shoe-string budget in only 7 days, better than all the other teen horror films back then. The camera angles on the fight at the beginning, Dawn Richard's gymnist seeing the werewolf upside down at first (and therefore the audience too), showed that he had good ideas in setting up shots.

Michael Landon, contrary to what some believe, never downplayed his connection to this film for it gave him his start in show business. He may at first have had doubts about being connected with it with the initial uproar, which is why he turned down the chance to play the werewolf a second time, but after that, he never bad-mouthed the film. In fact, he paid homage to it on a Halloween episode of "Highway to Heaven."

Anyway, the acting is good all around with standout performances by Landon and Whit Bissell. The "science" used to turn Tony into the monster may be silly today, but in the 1950's, there were a lot of talk and film plots about past-life regression following the Bridey Murphy newspaper accounts (also used in THE SHE-CREATURE). Again you had to live in the 1950's to understand all this. Philip Scheer's werewolf makeup is one of the better pre-Howling/American Werewolf ones in movie history and while the transformation scene isn't as good as in THE WOLF MAN or THE WEREWOLF, the director did not have a lot of money or time to work with and did a good job considering.

A film has to be pretty good, even with a low budget, to be as successful as this one was...and to remain a cult favorite 45 years later. It has stood the test of time and deserves to be considered a classic of its kind.

Even the makers of this picture must have been surprised at the success of this horror camp film. Landon is the troubled teen, Bissel the mad doctor that transforms him into canine terror. Later in his career, Landon admittedly blushed at the mention of the picture, but this one did kick off the start of the "I Was a Teenage Whatever" craze. This one moves along quite well and is still watchable by today's standards.

The influential "I Was a Teenage Werewolf" marked the starring debut of 20 year old Michael Landon, still two years away from TV's epic Western BONANZA. The sad fate of the late James Dean would inspire a number of copycat versions of "Rebel Without a Cause," so the intervention of new AIP producer Herman Cohen to combine teenagers and terror would quickly become a staple of drive in fare for many years (the shooting title was the very straightforward "Blood of the Werewolf"). Veteran film editor Gene Fowler Jr. (working steadily from the early 40s into the 80s) made his feature directorial debut, directing another six cult films and a number of TV episodes over the next five years before returning to the editing room for the remainder of his career. He was at the helm for Gloria Talbott's classic "I Married a Monster from Outer Space," plus a pair of early starring roles for Charles Bronson, in "Showdown at Boot Hill" and "Gang War," typically displaying more savvy than more experienced pros. Just as Alfred Hitchcock graduated from the editor's chair, Fowler benefits from a solid script and characterizations, instantly grabbing the audience with an opening fistfight that demonstrates the short temper and mistrusting nature of our protagonist, Tony Rivers (Landon), whose past run ins with the law have mounted to such a degree that he is now required to seek psychiatric help. Unfortunately (or fortunately, since we wouldn't get a monster), the MD turns out to be the less than ethical Alfred Brandon (Whit Bissell), who sees his latest patient as the perfect 'disturbed' subject to undergo hypnotic treatment coupled with a serum that is supposed to prove than mankind's future depends on the savagery of his past (another topical nod to Bridey Murphy). The first attack is masterfully staged, the intended victim walking home alone through the woods, unable to see whatever it is that's creeping up on him yet too terrified to escape (even the music is effectively scary). We first watch him transform into a sweater clad werewolf at the 45 minute mark when the school bell rings in his ear, his gymnast victim played by Dawn Richard, Playboy's May 1957 Playmate of the Month, who sees her attacker approach upside down in a nice touch. The remainder of the film keeps him in hirsute form, until his human self seeks help from the doctor who betrayed him, earning his justified reward. Landon takes full advantage of the part and always cherished his lone horror vehicle, paying tribute as a middle aged werewolf on his last TV series HIGHWAY TO HEAVEN. The transformations are done by lap dissolves, Landon's snarling, drooling creation one of cinema's best, going on to play a multitude of villains prior to the phenomenally successful BONANZA. From the teens to the cops the entire cast performs admirably, only the oddball scientist is cliched to the point of ridicule (we could of course do without the token musical number). Whit Bissell took the top slot in the even more outrageous "I Was a Teenage Frankenstein" before returning to supporting roles, while James Best ("The Killer Shrews") surprisingly pops up unbilled as a record spinner who gets slapped for being fresh. Both the Teenage Werewolf and Teenage Frankenstein would be teamed in "How to Make a Monster," Gary Clarke replacing Landon under the makeup. One of AIP's biggest moneymakers, earning $2 million on a budget of $82,000, theatrically double billed with Robert Gurney's "Invasion of the Saucer Men."

In between Lon Chaney Jr.(40's) and Oliver Reed (60's), I give Michael Landon a slight edge over Steven Ritch (The Werewolf 1956) as favorite werewolf of the 50's. The high school jacket and occasional drool give this werewolf a different slant. I notice this was directed by Gene Fowler who did I Married A Monster From Outer Space (another great title)in which, like this movie, the monster gets attacked by a dog. I still like the fight, woods scene, and gymnasium scene. A previous reviewer mentioned that Elvis was dating Yvonne Lime around this time and visited the set. This WOULD have been a great Elvis vehicle. 'He rocks He sings He Howls!'. Ah what could have been. Also another reviewer mentions that Michael Landon's character was too self-assured and that an unassured and unconfident teenager misled by the good doctor in hope of the teenager being more confident and popular would have been better. I agree, that would have been more plausible than Whit Bissell's ridiculous reasons and maybe more involving to the viewer. Still, I like Michael's performance (I'll take this over a Highway To Heaven rerun)and regard this as the best AIP horror picture(For whatever that's worth). The movie doesn't drag too much, though,I don't think ** out of *****

I first saw this when I was about 14 and I immediately felt it was one of the best horror movies I had ever seen! Forget that- I thought it was one of the best MOVIES I had ever seen. I saw it again at around 50 and couldn't believe I felt that way! But I do recall that I totally related to the "angst" and mental torment Michael Landon's character expressed- the alienation from everyone, especially parents and older people, the intensity, loneliness and longing for...something. Landon's moodiness and range in something other than "Little Joe" or "Little House on the Prarie" romanticized optimism roles showed he had more to offer than we typically saw. It definitely was one of the best of the "I was a teenage..." genre.