Wilczyca

After a long time away, a man returns home to find his wife in the throes of death. In addition, he discovers that another tragedy has occurred, and that black magic was involved. Leaving again, in disgust, the man dismisses the fact that he's now been cursed. Soon, he finds that no matter where he goes, a certain creature is following him.

WILCZYCA (aka: THE WOLF, aka: SHE WOLF) is a fantastic tale of witchcraft and lycanthropy, set in 18th Century Poland during the time of the Hussars, although the use of daguerreotype suggests the mid-19th Century. There is a cold, foreboding atmosphere, and this film contains some of the most haunting wolf howls ever recorded.

Of special note is Iwona Bielska, who plays a dual role as the witch and the Countess. She's quite beautiful, and her long, perfect teeth are truly wicked! She's as seductive as she is demonic.

A solid, slow-building occult horror movie with a gory finale...

(1983) Wilczyca (In Polish with English subtitles) HORROR

Co-written and directed by Marek Piestrak that has Kacper Wosinski (Krzysztof Jasinski) just arriving to help his ailing wife, Maryna (Iwona Bielska) he has not seen in years who happens to be dying. But because she has done things while he was away that may have bewitched her, may have forced the way she was supposed to be buried. We are then see Kasper, a comrade in arms interact with his fellow superiors, Count Wiktor Smorawinski (Leon Niemczyk) and Count Ludwik (Stanislaw Brejdygant) who has just been married to a much younger wife, Countess Julia, who appears to have a history with a much younger high ranking cavalry man, Otto (Olgierd Lukaszewicz).

Despite the unmemorable ending and not scary at all, I thought much of it is reminiscent of a folklore or a mythical tale.

While historical in the way many of the Hammer films of the late 60s, early 70s are, "Wilczca" departs from its English brethren in its not-so-subtle political concerns.

In "Wilczca", the backdrop is the 19th century Polish nationalist battles against the Prussians. However, what is missing is the obvious "other' monster of both the 19th century and the 1980s: Russia. Between 1800 and 1917, Poland was basically a territory divided between the competing ambitions of the Napoleonic wars, Prussia, Russia and the Hapsburg empire. Piestrak, obviously, could not be so obviously anti-Russian when making this film. So the Prussians will have to do.

Now, I mention this because it is helps to frame the ostensible central concern here: Infidelity and betrayal. Specifically, we are introduced in the opening to "Maryna," the wife of "Kacper", a man returning home from doing his part in the nationalist wars. Maryna lays dying as an unfaithful spouse: unfaithful to her returning husband, unfaithful to her religion and unfaithful to her country. Kacper calls her a bad name as she lays dying, and she promises to return as a she-wolf. Which she does. However, she also comes to possess the body of "Countess Julia," who happens to be the spouse of the Count for whom Kasper works. We then spend a fair amount of time getting acquainted with Julia's infidelities, her transformations and what must be done to stop them.

Several reviews mention the apparent misogyny and even anti-Semitism of the film. As to the latter claim, I will simply point out that Dr. Goldberg emerges as something of a hero in the film. As to the former claim, that one has more bite: The two women here (Maryna and Julia) function as allegorical figures with no real personality or character development. That said, the idea that war destroys the civil sphere dates back at least to the Greeks (see "Medea"), so I regard it as of a piece with the type of film that this is.

In the end, I found the applicable analogy less to the Hammer films than to some of Hertzog's work from the same period. At any rate, this is a slow burn. But it actually does pick up its pace during the last 20 minutes, and the ending is pretty decent. For a no-budget film, the cinematography is fairly good and reflects the darkness, cold and snow that surround the primary events in the film.

In sum, if your baseline comparison is to the three 1981 biggies: "An American Werewolf" "Wolfen" and "The Howling," this will disappoint. But if you like an overtly historical tale that takes its time to get to the dramatic scenes, this might work for you.

If you know Polish you must see the film. And you will understand that everything you've seen before on werewolves was kids' stuff. In this film you have everything: love, hate, adultery, nice actors and most of all real horror. Your hair will stand on end. I guarantee. Have a nice fright!

I don't recall having seen any Polish films before, let alone any Polish werewolf films, so I unfortunately heaped expectation upon Wilczyca, especially since it is rather well reviewed here. In some ways it does well, but overall I felt a little let down by the experience. The story is a classic Gothic one, a lady, Maryna dies cursing her husband, and the curse is visited upon him and upon a younger lady. Emphasis on traditional elements brings a cosy, pleasing feel to the film, with its spooks delivered in measured fashion, while all round solid performances bring a welcome sincerity. The setting really helps things too, frozen paths, snow fleeced fields, and domiciles of rustic grandeur captured with chilly beauty in the cinematography of Janusz Pawlowski , the film clutches with a feel of Eastern European winter and this feel helps ease the film along even in its weaker moments. Of which there are regrettably too many, the film is overlong and there are several stretches that could have been cut down with little harm. These longeurs are all the more hurtful since the film lacks much in the way of twists or turns and the screenplay is fairly simplistic during the first hour or so I was led to glancing at my watch far more often than I like to. The film also largely eschews exploitative elements outside of a spot of effective violence in the close, more would have been nice, as would nudity, though the cold climate is probably a good reason for the lack in that department. There are some good acting turns to keep things moving though, Krysztof Jasinski makes for a cold gnarled and dignified protagonist, noting mounting strangeness and cowed by things not all as they should be, while Iwona Bielska is terrific as Maryna and her later counterpart, striking features and a performance of wolfish sensuality give the film its best moments, she captivates in the classic European tradition of sinister femininity. Things eventually pick up after a sluggish hour and the final block is fairly good sailing, but still by the end it had the feel of too little too late, the film needed fireworks but what it delivers isn't much more than a campfire. Altogether, this isn't one that I'd especially recommend. Technically able and sporadically fun and intriguing, but generally not much more than a more or less skippable detour, one for European horror completists only I'd say.