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I think that more than anything, "The Curse of the Werewolf" does what too many werewolf movies fail to do: offer an explanation of how the first werewolf got created. Apparently, if someone is conceived under rather unpleasant circumstances, that person is a lycanthrope. After a beggar gets imprisoned in 18th century Spain, he rapes the jailer's daughter. She dies in childbirth, but her son Leon is raised by a nobleman. Sure enough, Leon is a werewolf. As an adult, Leon (Oliver Reed) tries to control himself, but unfortunately can't.

This is another addition to Hammer's cool filmography. It shows Leon's inner torment, knowing what will happen every full moon. As for associating Spain with werewolves, that country of course produced actor Paul Naschy, who has made a career out of playing werewolves; Portland's own Movie Madness even has a section devoted to him.

A very involving Hammer production that chronicles the history and life of Leon (Reed) who becomes cursed at birth causing him to turn into a werewolf when the moon is full. This is a story driven movie. The action and violence is sparse, but that's not what this movie is about. Playing out like a historical drama, Curse of the Werewolf details werewolf mythology like I have never seen. The performances are fine, and the film has an ambient feel to it that makes it even more appealing. Don't sit down to this movie expecting a bloodbath, Curse of the Werewolf is a well written, brilliantly conceived, and nicely plotted thriller.

Extremely Gothic terror intent in the Universal vein and walks a fine line between romance , camp , Wolfman's classic and horror . It displays excellent set design , ambitious screenplay with too many eerie scenes and adequate interpretation for all casting . Terror picture that is renowned for ferocious departure from the stereotypical portrait of the beast . It is set in Europa , dealing with a 19 Century European werewolf , as it happens in Spain , Leon is born on Christmas day to a mute servant girl (Yvonne Romain) who was imprisoned by a nobleman (Anthony Dawson) and raped by a beggar (Richard Wordsworth stated that in the original screenplay his beggar character was a werewolf) . His mother dies giving birth and he is looked after by Don Alfredo (Clifford Evans) and his maid . As a child Leon turned into a werewolf after having been taken hunting . Leon (Oliver Reed in his first horror movie), transformed by the full moon, heads for the forest and a fateful meeting with the villagers . He is developing an extraordinary force and aware himself has a horrible curse who cannot to control . As a young man he works in a wine cellar and falls in love with the owner's daughter named Cristina (Catherine Feller). The curse will be passed on to him at the next full moon and he again turns into a werewolf and terrifies the town.

This exciting motion picture displays drama , suspense, terror with mysterious touches and is quite entertaining ; being the only werewolf movie made by Hammer Studios . It's a crossover with a little of the classic version ¨Lon Chaney's Werewolf¨, the novel ¨Wolfman in Paris¨ by Guy Endore and wrapped in a Hammer style . Atmospheric, slick terror film , creaky at times but it's still impressive . The notorious screenwriter John Elder or Anthony Hinds provides a well-knit plot with mystery and horror, giving full rein to Terence Fisher natural talent for the terror genre . However , being censorshipped , as over five minutes were cut by the censor for the British release and even more for the American version ; the censor had problems with the notion of a werewolf/rapist, so out it went . It's some different but with clear reference to previous vintage film . Good performances from Oliver Reed as a creepy wolfman and Clifford Evans as his mentor . The transformation of man into werewolf is complex and is made by expert make-up artist Roy Ashton who based his makeup for this film on Jack P. Pierce's makeup for The Wolfman by George Waggner (1941) that starred Lon Chaney Jr and Bela Lugosi . Frighteing and thrilling musical score by Benjamin Frankel . Colorful and shining cinematography by Arthur Gant , Hammer's ordinary , being filmed in Bray Studios. The motion picture was masterfully directed by Terence Fisher who filmed classic horror films as ¨Dracula¨, ¨Dracula , prince of darkness¨ , ¨The brides of Dracula¨ , ¨The mummy¨ , ¨Phantom of opera¨, ¨The Gorgon¨ , ¨The devil rides out¨ and many others . Rating : Top-drawer terror film , upscale horror spectacle with a suitable climax at a church . Essential and indispensable watching for Hammer lovers . It's an above average terror and sometimes graphically exciting and turns out to be a good attempt to cash in the werewolf sub-genre . Rating : 6,5 Good .

It's Spain and a beggar walks through a deserted town forced into public festivities at the marriage of a miserly, degrading Marqis. He goes to the palace in search of food, and instead is given life imprisonment. This is the opening of one of Hammer's best monster films, and easily one of the best lycanthrope films ever made. The beggar through a raping of a servant girl spawns a baby werewolf. The film is about this boy and then man living with his affliction and finally succumbing to its eventual fate. Terrence Fisher has done a superb job with his direction, creating atmospheric sets, wonderful, rich costuming, an impressive musical score highlighting key dramatic moments, and most notably creating a story of a beast in man with compassion, understanding, and depth. The acting all around is excellent(once you get past the notion of Britishers playing Spainards), and Oliver Reed stands out as the young protagonist literally being torn apart inside. The make-up for the beast, while not as grand as Universals, is top-notch and harrowing to the eye. The film is a sight to see and it again affirms that many of the monsters of the movies are tragic heros not in control of what they do.

Hammer was quick to plunder the Universal vaults in their search for new horror successes. Dracula, The Mummy and Frankenstein had all been done, and it seemed only natural to film a lycanthropic story, following on from the success of Universal's THE WOLF-MAN. Happily enough, their (strangely) sole werewolf offering is a huge success, offering a tragic love story and horrific elements in equal amount.

While the Spanish setting eliminates any Gothic visuals, CURSE OF THE WEREWOLF more than makes up for this in the intriguing werewolf story, which spans a whole twenty years, and a sense of gloom and doom as you just know that Leon is going to come unstuck. Also, the introduction of a young, handsome, charismatic actor in the form of Oliver Reed, meant that audiences could really sympathise with the character of Leon, after all lycanthropy is merely an illness, and can anyone be to blame for illnesses which afflict them? This is one of the films that paved the way for Reed's later stardom, he would go on to star in a range of other varied horror flicks like THE BROOD and THE DEVILS. All the classic folklore concerning werewolves is in this film, along with a good score and lavish costumes. The acting is all above par and there are small roles for Peter Sallis, Warren Mitchell, and Michael Ripper, who plays his tiny role of the town drunk with relish.

CURSE OF THE WEREWOLF also has some excellent special effects. Stop motion animation is used to show hair growing on Leon's palms, while Roy Ashton's werewolf makeup is fantastic and groundbreaking, much as the transformation in AN American WEREWOLF IN London was twenty years later. To top this all off, the finale is something of a throwback to classic films like Chaney's PHANTOM OF THE OPERA and a satisfying conclusion to this epic romantic horror. CURSE OF THE WEREWOLF is yet another classic from Hammer's heyday, a tragic, inventive story which can be watched time and time again. This is a fairytale epic of a werewolf film.

I was so afraid of plugging this in. Not of being scared but movies coming from the fifties and sixties aren't my thing. The effects used were laughable. I rather would go for those old Universal flicks or even Nosferatu (1922). But two reason made me buy this flick. Terence Fisher and Hammer Horror. I guess I don't have to introduce both names to the geeks of the genre. Terence really delivered the best Hammer flicks. Strangely, it took awhile before this flick got a proper release and finally in 2012 it got a DVD release.

The story reminded me a lot of The Wolf Man (1941) but this is really enjoyable to watch. I was never bored with the story. But it's the way it was directed by Terence and the use of lighting that gave it a creepy atmosphere, I would even say a Gothic feeling. The effects used are very low, it was all done in a way the camera was used. So you really doesn't see the werewolf changing and that's were this still works up to today. The only effects I was surprised by is the way they used the red stuff. it isn't gory of course but when the werewolf is being shot the blood do sputter out of his body.

I can't go in on the way the acting went because acting back then was more theatrically then nowadays but one name I looked at closely, Oliver Reed. Oliver played the werewolf and he did great. This was a flick at the beginning of his career (1958) and his first leading role, just look what he did here. He really looked believable and you could care for him. He went further to make classics like for example The Brood (1979). Sadly it went downwards with him due his drinking problems and he past away in 1999 while shooting for The Gladiator. One to surely watch not only for the directing but also for Reed's performance. Classic.

Gore 1/5 Nudity 0/5 Effects 2/5 Story 3/5 Comedy 0/5

This film, more by accident than design, has become one of my most-watched Hammer films. Actually, I liked it immediately and, therefore, I return to it willingly...though I wouldn't really rank it among their top films! Still, for being the studio's only stab at the werewolf legend, the plot is pretty stacked with fanciful lore which differs quite a bit from what Universal came up with in the 30s and 40s...or, for that matter, anything that we've seen since! Truth be told, it's highly improbable and even rather silly but, then, the film is so thick with atmosphere throughout (belying the typical low budget) that it doesn't matter at all! Oliver Reed essays his most significant starring role for Hammer with dignity and a brooding quality, in my opinion, and the supporting cast does pretty well by their roles but, again, the film's main asset is its beautiful look (including the wonderful werewolf make-up). I also don't mind the fact that we see the fully-fledged transformation only once as the build-up to it is terrific and the film, on the whole, emerges as one of Fisher's most assured efforts.

This is a pretty good old werewolf film... it's not that bad. This one he looks more like a Wolf Man (similar to Lon Chaney, Jr.) than the more modern werewolf.

Curse of the Werewolf has a very interesting film beginning of how Leon's parents met, what happened to them, how he was born and taken in to be cared for. The story hits a little bit of a low for a few minutes but then picks back up around 50 minutes into it.

This is a great late night popcorn flick... it's a bit interesting and can be enjoyed by fans of older horror films.

7.5/10

This was a highly unusual werewolf film and I am actually surprised that Hammer films went on to make many Dracula sequels but not werewolf ones, since this film was well made and quite enjoyable.

The film begins with a very long prologue--telling a sad tale about an evil man who was responsible for the curse that eventually made poor Oliver Reed become a werewolf. The entire story was quite interesting and VERY different from the Universal Studios vision of how one becomes a werewolf. Instead of being bitten by another werewolf, it was a rather convoluted curse. The only problem with this story, though, is logical. You see, Oliver Reed's adoptive father narrates the prologue BUT how he knew most of the details is quite impossible--as Reed's mother was a mute and didn't have communication skills to explain most of the story. Plus, parts of it she couldn't have known! I guess the narrator just read the script, because there was no other way he could have been privy to the information! Despite this serious logical flaw, the rest of the film was very compelling--with Reed making a very sympathetic creature. Plus, like the old Universal films, Hammer did a good job of not showing too much--only letting you see the creature near the very end of the film.

Excellent acting and production values combined with a very interesting though flawed script make this an excellent movie for fans of Gothic horror.

A modest werewolf "epic" that never feels formulaic in the hands of director Terence Fisher and writer Anthony Hinds. The film is one of Hammer's most accomplished and deals with the subject of lycanthrope with some imagination. Young Leon (Justin Walters), the consequence of a rape, is born with what appears to be a dormant werewolf gene that is awakened when he tastes the warm, "sweet" blood of a bird. Unable to resist his true nature, he starts killing livestock in a small rural community. His juvenile rampage doesn't last long because the local priest (John Gabriel) identifies his condition and encourages his adopted parents to shower him with love and affection, convinced that it is love that will keep the boy's desires at bay. Clearly, the priest's faith in love is not misplaced, because, ten year's later, the adult Leon (nicely played by Oliver Reed), who has just left home, is only a wolf with the women. He falls hard for the daughter of his employer, but when he is deprived of her love, his lycanthrope surfaces and the killings begin again, only this time he leaves the livestock alone.

The film is a character drama in werewolf clothing, and, though it references genre classics such as "The Wolfman", "The Werewolf of London", and even "The Hunchback of Notre Dame" in its climax, it is still very much its own animal. There is a welcome depth to the performances and Reed's acceptance of his condition and desire to be destroyed gives the piece a fine sense of tragedy.

Unlke the genre films of today, which make this feel like something made on another planet, "The Curse of the Werewolf" really takes its time to establish a solid foundation for its horror and is a refreshing product of far less cynical times in which human warmth was seen as essential, not "uncool".

The last shot, in my opinion, is flawed. When the dead werewolf is flipped onto his side by his adopted father, he is not shown, in death, as having returned to his former state as represented by Oliver Reed.

A fine achievement.

This is second only to the wonderful original starring Lon Chaney, Jr. twenty years earlier. Oliver Reed brings a more pronounced character to the ravenous tippy toed terror of the night. This is a top notch project from director Terence Fisher and one of the best from Hammer Studios.

Rounding out the play bill are Clifford Evans, Yvonne Romain, Hira Talfrey and Michael Ripper.

This movie begins about 200 years ago in the small Spanish village of Santa Vera when a beggar arrives and seeks food at a nearby castle belonging to an evil man by the name of "Marques Siniestro" (Anthony Dawson). Although he receives both food and wine he is humiliated in the process and, without much thought, imprisoned by the Marques because of an unintended slight. Time passes and eventually the beggar is totally forgotten about in his prison cell. Then one day when the beggar has gotten quite old an attractive young woman named "Cristina" (Catherine Feller) is also sent into the same prison cell because she failed to answer a question by the Marques due to her being mute. She is then raped by the beggar who dies not too long afterward. A day or two afterward she is sent back to the Marques but when he attempts to have his way with her she kills him and flees into the woods. She then proceeds to live in the woods like a wild animal before being rescued by a nice man named "Don Alfredo" (Clifford Evans). Although her wounds are treated it is soon discovered that she is pregnant and a few months later gives berth to a son named "Leon" (Oliver Reed) on Christmas Day. Unfortunately, being born on this specific day is considered unlucky by the people of the village and eventually the sum of all of these inauspicious events catches up to him and turn him into a werewolf when the moon is full. Naturally, it is during this time that terrible events happen which sets the course for the rest of the movie. Now, rather than reveal any more. I will just say that this film spent quite a bit of time attempting to provide its own interpretation on the origins of lycanthropy but doesn't really get involved in the horror or action sequences until the last third of the movie. This causes the film to seem rather slow and dull at times and not up to the usual standards of a Hammer film. At least, that is my opinion. In any case, I have rated this movie accordingly. Slightly below average.

'The Curse Of The Werewolf' is one of the very best of the early Hammer horrors, yet gets rarely mentioned, probably because it doesn't feature either Peter Cushing or Christopher Lee. It was Hammer's only attempt at a werewolf movie, which is a shame because to me it is almost as good as Universal's classic 'The Wolf Man' with Lon Chaney, Jr. The werewolf here is played by Oliver Reed, and much like Chaney's Larry Talbot, he is doomed to his fate which gives the character a strong tragic element. Even more so in this story, because Reed's Leon Corledo isn't bitten by a werewolf but damned from birth after his mother (Yvonne Romain, 'Circus Of Horrors'), a mute servant girl, is raped by a demented beggar (Richard Wordsworth, 'The Quatermass Xperiment') who has been falsely imprisoned by a sadistic Marques (Anthony Dawson, 'Dr.No'). The baby is born on Christmas day, and in this version of the tale that makes him cursed. The young child is adopted by the kindly Don Alfredo Corledo (Clifford Evans) who raises him as his own. After a few hiccups the boy grows into a young man who seems to have his condition under control, but when he makes his way in life he soon finds that that is not the case, with gruesome results. I enjoyed this movie a lot. It takes the material seriously, and the early parts of the movie are very dark. Reed gives a great performance and the aforementioned supporting cast are all very good, especially Wordsworth and Dawson who have some memorable scenes at the movie's beginning. There's also nice cameos from Hammer regular Michael Ripper as the town drunk and Warren Mitchell (Alf Garnett) as a watchman. Another great thing about the movie is much of the werewolf action isn't explicitly portrayed, making it very much in the Val Lewton tradition, and the viewer has to wait almost until the end to see a transformation scene. 'Curse Of The Werewolf' is a first rate werewolf movie and is recommended to all classic horror fans.

Terence Fisher directed this violent but effective werewolf tale from Hammer studios. It begins with a beggar being imprisoned in a dungeon after offending the local royalty. Years later, after falling into an degenerate state, the beggar attacks the mute servant girl of his jailer. She escapes, but later dies after giving birth on Christmas day, but her baby is adopted by a couple. Years later, the baby has grown into a young man named Leon(played by Oliver Reed) who leaves his father(played by Clifford Evans) to go look for work in the city, but the werewolf curse of his birth takes hold, as he goes on a murder spree, which only the love of a woman can prevent... Oliver Reed is quite good as the doomed young man, helped by fine direction and makeup F/X, though the story is overly lurid, particularly for its time.

Strange Hammer horror film takes place in Spain--although everyone speaks with a British accent. A LONG back story (almost 30 minutes long) starts us off. Most of the material is unneeded but it has a mute servant girl being raped by a almost beast-like man. She later gives birth to a baby boy--and dies. He is named Leon (Oliver Reed) and is born with the sign of the werewolf on him. It's kept down--until he is denied a girls love and he turns...

This film is colorful and well-acted (especially by Reed) but slow moving. The LONG back story was a bad idea--it takes too long for things to happen. Reed doesn't even show up until the film is half over and the werewolf attacks don't happen until over an hour has passed! Still it's not bad and beautiful to look at (especially in the Universal DVD). And Reed is frightening as the werewolf (GREAT makeup job) and sympathetic as Leon.

This was a major bomb in 1961 and Hammer never made another werewolf film. Too bad--this could have been so good. Seriously--why the long back story and WHY set it in Spain? I give it a 6.

"Curse of the Werewolf" was Hammer Studios only feature-length werewolf film, although they did later make "Children of the Full Moon" in the 1980s, an hour-long episode of the 'Hammer House of Horror' TV series. It bears much comparison with the other classic werewolf movie of the pre-1980's, Universal's "The Wolf Man". It tends to be much less appreciated than it's younger cousin, although many regard as being a classic in it's own right.

One night in Spain, a poor beggar makes the mistake of offending a nobleman and is thrown into the dungeons for the rest of his life. While there he rapes a poor, mute servant girl who subsequently escapes into the woods. She is soon taken in by a kind couple, and when she dies giving birth to the beggar's child on Christmas day, they raise him as their own. As Leon grows older, he develops a nasty habit of changing into at wolf a night and slaughtering the local livestock. His loving parents are able to restore his humanity, but when he falls in love years later the terrible curse returns to haunt him ...

The story here is a bit slow-moving and dull in places, and it does take an awful long time to get started. Arguably the real story doesn't start until over half way through the film. It is undoubtedly creepier and more horrific than "The Wolf Man", and in that sense it shares more in common with other classics like "Dracula" and "Frankenstein". However, it's period setting does cause some problems. The sets and costumes are decent enough considering the time and budget, but the lighting and overall atmosphere aren't exactly convincing. Also, the makeup that is used to show various character's ageing isn't always all that great. The British cast of theatrical actors are for the most part very good, and although I'm not always a huge fan of Oliver Reed, he is very well-suited to this role.

Unlike Universal's "Dracula" and "Frankenstein", "The Wolf Man" was an original work that was never based on a historical novel. For this movie, however, Guy Endore's classic 1930's novel "The Werewolf of Paris" (with an obvious change of location) was adapted by Hammer producer Anthony Hinds. Hinds later wrote the script for "Legend of the Werewolf" after Hammer Studios movie production dissolved in the mid-70s, although he was always credited as John Elder. Terence Fisher was probably the most experienced and critically-acclaimed director that Hammer had to offer. An important figure in the horror revival of the late fifties and sixties, he had already helmed the production of two "Dracula" and two "Frankenstein" movies, as well as the Hammer remakes of "The Mummy" and "Dr Jekyll and Mr Hyde" and around forty other movies, mostly crime dramas.

This is a classic and often under-rated entry into the werewolf movie genre, and absolutely essential viewing for any true fan.

The Curse of the Werewolf is directed by Terence Fisher and written by John Elder (producer Anthony Hinds), loosely based on the novel The Werewolf of Paris written by Guy Endore. It stars Clifford Evans, Oliver Reed, Yvonne Romain, Catherine Feller and Anthony Dawson. Out of Hammer Film Productions it's a Technicolor production with photography by Arthur Grant and music by Benjamin Frankel.

Hammer's only venture into the lair of the Werewolf proves to be a tragic-romance-cum-nightmarish fairytale more than a film dealing with the savage roamings of a lycanthrope. Off the bat it has to be noted that the film is not overtly horror, something that may result in disappointment for any potential first time thrill seeker. That said, this is still a cracker-jack of a movie, boasting the best of a Hammer production (sets, music, colour, direction) with a narrative of cruel markings and links to puberty, sexual awakenings/urges and Jesus Christ! It's strongly cast, with Reed effective with his brooding good looks, Romain piercing the eyes with her Technicolor sexiness and Dawson knocking it out of the park as a vile bastard son of Ebenezer Scrooge! British fans also get the added bonus of catching familiar TV faces Warren Mitchell and Peter Sallis in secondary support slots.

Paced as it is, very much on the slow burn with a good portion of the picture dealing in the origins of Reed's cursed Leon character, much of the film lacks tension and suspense. This lures one into expecting a barn-storming finale by way off a pay off for the viewers patience. Sadly it's no crowning glory, yes it doffs its cap to the old Universal Creature Features of the 40s and 50s; and there's definitely some emotional heft for the bell tower closure, but it just lacks the dynamism needed to lift it into the upper echelons of Hammer's best output. There's also the small matter of Catharine Feller, who is weak as one of the films crucial female characters. These are problems, even if ultimately they don't detract from the expert story telling of the makers and the fact that visually it's a gorgeous and alluring movie.

With a different spin on the Werewolf legend to be applauded, The Curse of the Werewolf, one or two missteps aside, is still an essential Hammer movie. Even if it could and should have been a little more than that. 7.5/10

Warren Mitchell in his only Hammer horror gained the rare distinction of playing the local huntsman (SPOILER COMING:) who provided the silver bullet that saw off Oliver Reed at the conclusion of this Technicolor version of Universal's 'The Werewolf of London', which is pretty gory even by Hammer's standards.

Furthermore that unsung hero John Hollingsworth made yet another important contribution to Hammer's enterprising use of music by commissioning Benjamin Frankel to compose what is claimed to be the first serial score composed for a horror film.

As is the custom in werewolf films, the title character is portrayed symbolically, tormented by circumstances beyond his control.

Title: Curse of the Werewolf (1961)

Director: Terence Fisher

Cast:Oliver Reed, Clifford Evans, Catherine Feller

Review: Hammer films is known for making many vampire films, many Frankenstein films, and even a few Mummy films...but for some reason Curse of the Werewolf was their one and only werewolf film ever made. Even though they only made one Werewolf film, I'm happy because at least the only one they did make is really really good.

The story is about a beggar who gets thrown into a dungeon by a despotic marquis who takes pleasure in demeaning other human beings. The beggar spends years upon years in prison until he becomes almost animal like. A young and beautiful servant girl is thrown into the same cell as the insane beggar is because she rejected going to bed with the same marquis. The beggar decides to rape her and the offspring of that rape is Leon Corledo. A young boy who is cursed to become a werewolf because he was born on Christmas Day. And on this movie, being born on Christmas Day means you are forever cursed to become a werewolf when the full moon comes.

I enjoyed this movie immensely and I have to say that one of the things that enhanced my enjoyment of it was Oliver Reeds portrayal of Leon Corledo. He is magnificent in this movie. He has a great presence and a roughness to him that is perfect for playing a man cursed with lycanthropy. He has some very intense moments in which we can see that he is torn between letting his animal side loose or keeping it under control.

Terence Fisher, one of Hammers prime directors did a fine Job in bringing to life the tale of the werewolf. Hes done many fine Hammer films in the past and this one is just another jewel in his crown of great horror films. The movie is heavy on atmosphere and creepy visuals. A standout moment for me was when the young Leon has turned into a werewolf in his room and cant escape it because his stepfather has barred the windows in his room so he cant escape at night. The look on the kids face and the music is a real horror movie moment. Fisher made sure there's plenty of cool shots of the fool moon hovering over the dark sky as we hear the howling of a wolf in the distance. Or the scene in which the are going to baptize young Leon and the water in the altar starts to boil.... Its nice touches like those that make a Hammer/Terence Fisher film special.

I also liked how they treated the origin of the werewolf. The really go back and explain how it all started. Its not just a movie about a werewolf running amok killing people in a little town. Here we get the whole back story as to how the whole thing started. I liked that. It gave the film lots of depth. Its a story covering a few decades of history. Another thing that made the story special was the idea that love and compassion towards Leon could help him control the beast inside of him.

Then there's the werewolf transformation, which is after all one of the big things about watching a werewolf film. There's always a spotlight on the transformation sequence. Its always a showstopper in films like "American Werewolf in London" and "The Howling" and even in "The Wolfman". Here I must say that for the time it was made, the make up is really excellent. I'm guessing that it was for budgetary reasons that hey held the transformation all the way till the very ending, but when it does happen its very good. I was amazed that for the time it was made (1961) it turned out as good as it did. In fact I think this look was the one that Fredd Dekker was paying homage to when he directed his monster film The Monster Squad, in which The Werewolf teams up with Dracula, Frankensteins monster, The Creature from the Black Lagoon and The Mummy to bring the forces of darkness to earth. The look of the werewolf in that movie is exactly like the one seen on Curse of the Werewolf. I don't blame Fred Dekker for wanting to pay homage to such a cool creature.

The only downside to this movie? Watching English actors playing Spaniards. It was kind of funny to see that the only thing that they added to their acting to make it look Spaniard was saying "Señor" at the end of every sentence.

Finally, Id say that this is one of the best Hammer films ever made and that this movie deserves a whole lot more recognition then it gets. It should be out on DVD, because as it is, its one of the best werewolf films ever made.

Rating: 5 out of 5

This is Hammer's only werewolf film. It is not a terrible movie but it suffers from a number of structural, narrative, and pacing problems.

First off the first 30 minutes of the film are spent giving us the back story of the main character, almost all of which is totally unnecessary. Virtually all of the events and characters introduced here have no impact on the rest of the film.

After that we are subjected to roughly another 30 minutes of sheer boredom, during which nothing significant occurs. After the first hour of so the film does pick up and becomes a true werewolf film. The ending is decent and the acting is solid, so it does pay off.

The plot can be a bit silly at times such as how he became a werewolf and how to "cure" him. Both of which break with traditional werewolf lore.

Overall if you can get past the slowness and the fact that the first 30 minutes have nothing to do with the last 60 you will probably enjoy this film.