Le monstre de Londres

Before there was "The Wolf Man", Universal made "Werewolf of London". This movie is not as well known or as good the Lon Chaney Jr. movie but it's a rather good genre movie on its own nevertheless.

The movie starts off in a good and mysterious horror way but also in a great and entertaining way, by introducing some fun typical upper-class British characters and dialog into the movie. Unforntunately it then takes quite a while before things start to kick off. The monstrous werewolf only makes his full entrance halve way through the movie.

It's funny to see how much similar the werewolf transformation sequences in this movie look to "The Wolf Man". The make-up effects in this movie are also almost the same and created by the same person, but only as a more lighter and less hairy version, since the actor Henry Hull disliked the time-consuming makeup application. The make-up effects in this movie are nevertheless rather good and convincing. Henry Hull is definitely almost unrecognizable underneath all of the make-up.

I also must say that I liked Henry Hull better as the werewolf than as his human character. It was a hard character too sympathize for, something that Lon Chaney Jr. did succeed in by the way. A reason why "The Wolf Man" is still a better movie than this one is. Also quite weird to see Warner Oland in this movie, since at the time he almost entirely only made Charlie Chan movies and he was very popular for it at the time. It therefor is a bit weird to see him in a different role in this movie.

The movie features lots of comedy, which makes this a very pleasant movie to watch. But it also takes away the tension at times when it isn't really needed to. It sort of prevents the movie from being a true tense and mysterious horror movie at times, though the potential for it was definitely there.

The story isn't that much special and rather simplistic. The movie doesn't offer any real surprises, although the story does has its moments. Also the climax of the movie feels rather rushed and sudden. The movie should at least had been 10 minutes longer, to let it reach a better and more satisfying less sudden conclusion.

It's still a good sort of forgotten Universal werewolf movie and a more than great watch for the Universal horror/classic horror movie lovers.

7/10

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"Werewolf of London" almost never gets mentioned when one talks of the classic Universal horror flicks of the 30s and 40s. Yet it is as good or better than most of them.

The story involves a biologist (Henry Hull) who is in Tibet searching for a rare flower. While there he is attacked by a werewolf and unknowingly becomes infected himself. The rare flower it turns out, has the power to suppress the transformation into a werewolf. A mysterious scientist from Tibet (Warner Oland) appears and takes an unusual interest in the plant. Well, as in all werewolf movies, you know what happens when the moon is full.

Perhaps the film doesn't get the recognition it deserves because of the absence of one of Universal's major horror stars (Karloff or Lugosi). Lon Chaney Jr. would not arrive on the scene (in horror movies) until 1941.

Veteran character actor Hull is very good as the tormented Dr. Glendon. He plays him more in the manner of Dr. Jekyll and Mr. Hyde than an out and out monster. The murders are committed off screen so we have to rely on Hull to convey the evil of the werewolf through his performance. Warner Oland, who was starring in the Charlie Chan series at the time, has little to do as Dr. Yogami. The fetching Valerie Hobson stands out as Hull's wife and Spring Byington does her usual talkative busybody as Aunt Ettie. The weak link in the cast is Lester Matthews as the token hero Captain Ames. He plays him as a silly-ass stuffed shirt rather than the dashing fellow he is supposed to be.

Having said all of that, "Werewolf of London" is one of the better horror films of its time and unfortunately remains one of the most underrated of the genre.

Dr. Wilfred Glendon (Henry Hull) is in Tibet searching for the rare mariphasa plant that apparently only blooms under moonlight. Upon finding the plant his joy is obvious but it's quickly short lived as he is attacked by a half-man half-wolf type creature. He manages to fight off the creature but it does draw blood before retreating off into the mountains. Back in London, Glendon works tirelessly to get the plant to bloom under artificial light, neglecting his wife Lisa (Valerie Hobson) in the process. But that's not the only worry he has to contend with, with the arrival of the mysterious Dr. Yogami (Warner Oland) comes news of lycanthrophobia and the true value of the mariphasa plant...

The names Universal Studios and Werewolves go hand in hand (or paw in paw if you like). Automatically images of a pained Lon Chaney Jr howling at the moon come quickly into the conscious, yet quite some years earlier Universal had already ventured into the realms of lycanthropy. Firstly they had offered up "The Werewolf", a silent short film in 1913 that sadly is thought to have long been lost in a fire in 1924, and then in 1935 they released "Werewolf Of London". The first mainstream werewolf picture and first to feature anthropomorphic werewolves. It can't be understated just how important "Werewolf Of London" is in the pantheon of Universal classic horror. It also helps that it also happens to be a rather fine picture in its own right. Interestingly blending the werewolf legend with science fiction elements, the script is intelligent, the scenic sets impressive and director Stuart Walker keeps it taut and suspenseful.

In spite of what you may have read on some internet sites, the cast deliver the goods, particularly Henry Hull who it should be remembered is playing a vastly different type of werewolf to the one Chaney would play six years later. This is after all a wolf-man who pops on his hat and cloak and strides out into the dimly lit night. Hull also comes up trumps with the emotional aspects of Glendon. Observe the expressive acting as Glendon's cat turns against him, the hurt and then the horrific realisation of what awaits him is vividly portrayed during one heartfelt scene. Another sees Glendon proclaim "Singularly Single, madame. More single than I ever realised that it was possible for a human being to be," this is fine stuff delivered with style and emotion by the well spoken Hull.

The support is very tidy from Hobson, Oland, Lester Matthews and Lawrence Grant, but they are unsurped by the comic relief that comes in the form of Ethel Griffies & Zeffie Tilbury as batty bints, Whack & Moncaster. A right couple of old dears who stick their noses in where they shouldn't and enjoy knocking each other out! I kid you not. Yet perhaps surprisingly this humour sits easily within the structure of the story. Another testament to the good work done by all involved. While rounding out the treats is the make up work from pioneer supreme, Jack P Pierce (AKA Janus Piccoulas). This is not one for the boo jump scare brigade, or even for those after a bit of old fashioned blood letting. This is tight story telling with a good production and acting to match. Twas a pleasant surprise indeed. 8/10

WEREWOLF OF LONDON is a gem. I became familiar with the old Universal classics watching them on an old GE black and white when they were broadcast on "Lights Out" in El Paso, Texas thirty-odd years back. And this was one of the few that I found seriously frightening as a boy.

The initial transformation scene in this film is done as well as any special effect was in those days. First, the viewer becomes aware of its approach through the reaction of a housecat to the afflicted Doctor as he reaches out to stroke his pet. He crosses over into another room, the camera pans back, and the transformation occurs as he passes behind a number of columns. It's damn eerie. And I believe it holds up after all this time, but it doesn't matter to me if I'm alone with this sentiment.

Warner Oland, Valerie Hobson, Spring Byington end up carrying the weight that Henry Hull couldn't as a central player, plus there are a couple of marvelous character actors playing some very funny dipsomaniac landladies. It all balances out. You gotta see this one.

Whilst in Tibet searching for a rare flower, botanist Dr. Glendon (Henry Hull) is bitten by a werewolf.

Howard Maxford praises its "effective sequences", and truly, yes, the metamorphosis is decent for its time. Mike Mayo is less sympathetic (surprisingly) and believes the reason this film hasn't matched Chaney's version in fame is because, "Glendon is such a cold protagonist that it's difficult to muster up much sympathy for his predicament."

This is, of course, a Universal film, prior to their much more famous "Wolf Man". Director Stuart Walker did not go on to do much else for horror, though he did do two adaptations of Charles Dickens.

Any horror historian needs to see this, as it is not only an early werewolf tale, but really is the seed that blossomed into "Wolf Man". The same makeup was even used (though toned down last minute, unfortunately).