Les griffes du loup-garou

Made for a paltry sum in 1957, this horror film grossed over 2 million dollars in a week. Its combination monster and teen angst struck a chord with audiences, especially the core teen-agers. Dozens of related films followed in the late 1950s. Michael Landon is handsome and brooding, in the James Dean mold [in fact he wears a stripe-lined dark baseball jacket almost as good as Dean's red one in "Rebel Without A Cause" (1955)], who seeks help for his violent tendencies. Yvonne Lime is lackluster as Landon's girlfriend, but Whit Bissell is compelling as a demented psychiatrist who transforms Landon into a part-time werewolf. Two set-pieces are masterfully constructed: in the first attack a teen boy is walking home through the woods, and suddenly hears footsteps behind him. Shot day-for-night, we hear no music, just see branches, brush and meadows, and hear crunching sounds. It's terrifying. The second sequence begins with Landon watching a girl practice on a parallel bar in a gym. The bell rings and he is transformed. This is our first look at the werewolf makeup and it's effective. But the girl is hanging and sees him upside down and so do we for a short while, set to a magnetic musical score, and it's thrilling. Later the monster hunt becomes a bit drawn-out, aided by a janitor from "the old country" who speaks of werewolf legends, a replacement for the gypsy woman from "The Wolf Man" (1941). This is undoubtedly Michael Landon's most famous and best screen performance, since he got lost to TV.

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.

A group of us guys were discussing the scariest films we'd seen as kids. I was 10 in 1957 when I saw this film while spending a week on Catalina Island. The theater was at the landmark "Casino" which was about a half mile walk from the small port village of Avalon. I was heavily absorbed in war, sci-fi, and western action films, with a special appreciation for stunts and special effects but unfamiliar with the horror genre in general and werewolf lore in particular. I was also the runt tagging along with a trio of cool eleven year old friends. It could've been a scene out of "Stand By Me". Four smart-ass kids walking at night down a dirt road to see "I Was a Teenage Werewolf" for my first and only time.

As an aspiring artist, I remember being fascinated by the opening titles where a make-up artist sketched the monster's face but when the actual transformation took place in the film it freaked me out, to say the least. Maybe it was the collective scream of a hundred other kids, but I covered my eyes until brave enough to slowly glimpse the monster. The scenes shot in Griffith Park looked too much like the dark, tree lined path we had walked to the theater. That half mile walk back to town was the longest, creepiest walk of my childhood.

A few months later I saw "A Man of a Thousand Faces" and became completely fascinated by the art of make-up and dove into everything I could find on Lon Chaney Sr. Later I finally saw Chaney Jr. in "The Wolf Man". By then I was too cool to be scared but still reading anything I could find on werewolf and vampire lore and probably first in line to see "I Was a Teenage Frankenstein".

Despite its apt but risible title, "I Was a Teenage Werewolf," surprises in both the sincerity of its playing, as well as by its accomplished technical credentials. Campy confessional title nothwithstanding, there is nothing about the screenplay that is deliberately parodic.

Effectively photographed by distinguished cinematographer Joseph La Shelle, and bolstered by an excellent musical score, the film thus provides a solid showcase for both its scenario and the performances of its young principals.

More importantly, (and this is what gives the picture a leg up on others of its ilk) the film is moodily under-lit, giving much of it a film noir ambiance. This is most evident in the hypnosis sequences, (the best in the film) which are staged and photographed in a way very reminiscent of Lewton's "Cat People."

Anyone doubting the value of the change purse aesthetics at work here need only consult the negligible results attained in such schlock as "Blood of Dracula" or the pre-Poe Corman films, which make "Teenage Werewolf" look like David Lean by comparison. Here the sincere effort of the technical crew shows: an unsettled, fatalistic brooding mood is generated, taking equal measure from the sense of doom hanging over the protagonist and expressed in shadows everywhere, even in mid-day living rooms and psychiatrist's offices.

Mr. Landon brings a sensitive intensity to the role that is wholly convincing, and he is ably abetted by all in support. Mr. Sokoloff is fine in his masculine reprise of the Maria Ouspenkaya role from Lon Chaney's "The Wolfman," and a pre Zorro Guy Williams shows up effectively as a policeman.

While admittedly done on a modest budget, this limitation is actually an asset, inasmuch as it prevents the art direction from going over the top in its very effective depiction of proletariat domestic interiors, (Miss Lime's character even has Archie and Edith Bunker type parents.) Thus, the homes, teen club, principal's office etc. are "right on the money."

Even so, sharp eyed viewers will note that a leather sofa does double duty in both the police detective's and Miss Fergusan's office. Similarly, Dr. Brandon's and Miss Fergusan's respective office's are the same set, re-arranged, and re-dressed.

For his part, Mr. Landon, flush with his TV western success, and (equipped with accompanying footage), lampooned his role in the film in a 1969 guest appearance on the Jerry Lewis TV show.

Tony Rivers is a teenager who has a real problem with anger. He's always ready for a fight and explodes at even the slightest provocation. A sequence of unfortunate events lead him to seek help with a psychotherapist, who turns out to be a mad scientist obsessed with the possibilities of reverting man to his animal state. After a few sessions which seem to be helping, brutal animal-like killings begin to occur in the town and Tony fears that he has become ... a werewolf! Although it was made for an extremely low budget by a brand-new production company called American International Pictures, this movie became very successful very quickly. Whether or not somebody actually sat down and figured out that teenagers should be the target audience for movie theatres now that the older folk stayed at home to watch TV is uncertain, but it was definitely a winning formula. Of course, the authority figures at the time were quick to damn the movie, saying it was psychologically damaging the kids who watched it. What a bunch of squares.

The werewolf aspect here is a metaphor for common teenage mood swings, with the anger of Tony being eventually channelled into the beast. There are hints of a darker subtext, particularly in a scene where he watches an attractive, partially-clad female gymnast doing her moves, right before changing into the wolf and attacking her. Overall the movie fails to notice the other similarities between the werewolf myth and adolescence, at least not to the same extent as "Ginger Snaps" or even "Teen Wolf". It tries very hard to be hip to the teenagers of that time, with fifties slang and a completely out-of-place extended music number and dance sequence thrown in. Unfortunately, it isn't really as thrilling or as fun as it really should be in places ... it's quite slow moving, takes a long time to get started and a lot of the scenes in the second half of the movie seem thrown together and lacking in narrative flow. Obviously it isn't perfect (it was given the "Mystery Science Theatre" treatment), but hey -- it's a B-movie.

Michael Landon is a real star in this movie, giving a performance that is both intense and convincing. Rather than setting his sights on movies, from here he went on to become a popular face on television, with major roles in series such as "Bonanza" (for over a decade), "Highway to Heaven", and later starring in "Little House on the Prairie". Nobody else on the cast really stands out, although everyone is competent. Tony's girlfriend is played by Yvonne Lime, who was actually dating Elvis while this movie was being made (how cool can you get?).

The notable writing team here, although originally credited as "Ralph Thornton", were in fact Herman Cohen and Aben Kandel who also wrote the sequels "I Was A Teenage Frankenstein" and "How To Make A Monster", then credited as Kenneth Langtry. Aben Kandel also did some earlier uncredited work on the "Werewolf Of London" screenplay. Unfortunately none of these movies were particularly strong in terms of story or dialogue, but nevertheless they did contribute a great deal to werewolf movie history. Director Gene Fowler Jr made his career in B-movie horrors and westerns, with this being his most well-known work (although "I Married A Monster from Outer Space" has to rank highly).

Werewolf movie fans really have to see this movie, not only because it was so popular and so influential, but because it was one of the most interesting werewolf movies of it's time.