O Lobisomem de Londres

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).

This movie is an old friend. I have seen it countless times since childhood and remain fascinated by both the highly original story and the sometimes whacky element of humor which softens a classic horror tale.

When comparing movies in the werewolf genre, one has to refer to "The Wolfman", which starred Lon Chaney, Jr. and Claude Raines. It is, I think, the humor of "Werewolf of London" that sets it apart. Spring Byington probably makes the film with her "Aunt Ettie" with excellent support from the "Mrs. Whack" and "Mrs. Montcaster" (I cannot remember the names of the actresses).

Also, the werewolves, as played by Henry Hull and Warner Oland, are more frightening than that of Lon Chaney because the makeup tends to reveal more of the human character in their faces. Thus does Oland's revelation to Hull that "A werewolf is neither man nor wolf, but a satanic creature with the worst qualities of both," nicely set the tone for what is to follow.

This early version of the Universal Studios Wolf Man borrows heavily from Paramount Studios' take on 'Dr. Jeckyl and Mr. Hyde,' which emphasized character and psychology over chills and horrors. Henry Hull gives a good performance as the eponymous monster, but does not inspire the same sympathy as a Frederick March or a Lon Chaney, Jr.

And unfortunately, there are some poorly handled comic-relief scenes involving a couple of drunken old ladies that really don't fit and detract from the mood. The scenes are so awkward that I suspect they were filmed later and added-in, to pad running time perhaps. These sequences seriously hurt this film, which is a shame.

Nonetheless, the story is interesting, the special effects and make-up are good, and some of the camera work is very well done. In particular, there is a neat shot as Hull is changing to the monster and simultaneously passing by a number of columns, and as he passes behind each successive column, the change progresses.

As is the case with virtually all classic horror films, this film has a psycho-sexual subtext. In this film, Henry Hull is playing a repressed and frustrated married man who has some deep behavioral compulsion and a secret relationship with with another man, and ultimately these things threaten to destroy his marriage. I won't give away anymore than that.

The werewolf make-up here is a little more subtle than that used by Lon Chaney in 1941, not necessarily better or worse, just different, and therefore, interesting. Overall this film is somewhat less entertaining than Chaney's Wolf Man, but still good and worthwhile for any fan of classic horror.

********************************** Additional Notes:

1) The Tibetan sequence was filmed at Vasquez Rocks, a famous place near LA, where many movies and TV shows were filmed, including episodes of the original Star Trek.

2) Soundtrack music from this film was re-used for one of the Buster Crabbe 'Flash Gordon' serials. The Flash Gordon serials also used music from The Invisible Man and Bride of Frankenstein.

"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