Wilczyca

This tale of spirits, dark magic, and lycanthropy carries with it the same sensibilities as other folk horror films to come out of Eastern Europe in the mid to late twentieth century. I think especially of 'Viy' (1967), and 'Leptirica' (1973), titles wherein effects, special makeup, and the active horror element are minimized, though present nonetheless, while broadly carrying a dry, unbothered air in the plot and its development. Such an approach may make the picture less appealing to the average genre fan, but maybe more so for the average moviegoer at large. It's certainly a very different experience relative to what modern viewers have come to expect of horror from, say, the 60s onward, yet no less worthy if one can appreciate the style. One can readily imagine how 'Wilczyca' would look if given a remake in 2022, for example, and if we can transfer that image in our minds onto what we're given in this 1983 movie - honestly, it' sa whole lot of fun!

Sure, the horror isn't actualized in the way we're generally used to, and it's not especially visceral. Yet the flavors we get are delicious all the same as soldier Kacper unwittingly finds himself immersed in supernatural goings-on. Considered in and of itself the story is engaging and compelling, even taking into account a tired arrangement in which virtuous men are seen as pursuing evil women (or were they just, you know, tired of the nonsense of the world of men and strove to carve their own path?). The cast give steady performances, not least Krzysztof Jasinski and Iwona Bielska, and Marek Piestrak's direction seems very sound to me, with a fine eye for detail. I admire the production design and art direction (and the filming locations), as well as the costume design and hair and makeup work. This is a period piece, after all, and the labor poured into realizing a bygone era is superb. Honestly, in every way we would hope, this is quite well made.

Far removed from what a twenty-first century viewer would recognize as genre convention, 'Wilczyca' nevertheless is an enjoyable tale of horror. One sees flourishes in Piestrak's direction in particular that stand out as demonstrating a swell intelligence, a mind for what best realizes such narratives. There is, after all, a measure of building tension throughout the length, and for as much as the feature tends to downplay its most robust aspects, by contrast the climax and ending are altogether jolting. By all means, I can understand that this won't meet the standards of all comers, yet for anyone receptive to the wide variety of what cinema has to offer, and horror specifically, there's a great deal to like here. It takes a while to warm up, but when all is said and done I had a great time watching 'Wilczyca,' and give it a solid thumbs-up!

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.

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!

Greetings And Salutations, and welcome to my review of The Wolf; here's the breakdown of my ratings:

Story: 0.75 Direction: 1.00 Pace: 0.50 Acting: 1.00 Enjoyment: 1.00

TOTAL: 4.25 out of 10.00.

OMG, this movie starts brilliantly. Kacper races home to his bedridden and sickened wife. Only to find his brother at the house along with the doctor, who informs him his wife is dying. But, should that not be enough, he learns from her twisted lips she has renounced God and has turned to the occult. His wife's gone dark side. His brother tells him he and the village know of the woman's actions and beliefs. Nobody shows up on the day of her funeral, not even the priest, and he and his brother have to bury the body. But first, they stake her heart so she won't rise from the grave. Life goes on, and Kacper takes residence with a local politician and his wife as their bodyguard. The politician and his wife don't have the most loving relationship, and her ladyship has taken to the arms of her maid, dresser, and confidant. Around this moment, the story takes a misstep, and the movie loses its flow. We spend too much time in the lives of the aristocracy, and the writer Jerzy Gieraltowski and Marek Piestrak change the persona of the principal character. Kacper is a sturdy and intelligent man. A man you'd be happy to have at your back. But in the second phase of the story, he becomes more of a clown. Along with the slow pace and lack of a captivating storyline, this element near-kills the tale of terror. And that's another misfortune: The forewarned horror of the opening sequence never arrives. But that's not to say there aren't any good ideas in the narrative. The Wolf possesses one of the best. It's the idea of supernatural possession. When the Countess begins acting strangely, Kacper starts seeing his dead wife's face in all the pictures that should hold the Countesses' countenance. Upon witnessing the omen of evil, he turns to the doctor who treated his wife for help. They set about attempting to defeat the corruptness before it consumes the Countess. Sadly, this comes too late in the story; you may have dozed off by this point - or hit the off button. It's a great idea, but required better attention to the narrative's construction for it to work.

Piestrak's direction is better than his writing. The opening sequence holds urgency and threat. It also goes a long way in solidifying Kacper's persona in the viewer's mind. Sadly, that is the last time we feel anxious. The rest of the picture, though it holds some well-composed and captured scenes, is too tedious. Piestrak doesn't help because he ceases to vary the tempo as he did in the opening. Everything becomes a tad wishy-washy and dull. The next creative moment comes at the end of the movie.

The performers are the best component of the film. Even Kacper's wife, who is only in the picture for a few minutes, is superbly captured by the actress portraying her. You can feel her contempt for religion and all that's holy in every word she spits at her husband from her deathbed. This lady isn't going quietly into the long goodnight.

Had Gieraltowski been better skilled at storytelling and cut out all the hyperbole and unnecessary sections, keeping to the horror story, this movie would've been up there with the best. I have no doubts that Piestrak would've excelled in bringing a spooky supernatural horror to the screen; as it is, he does his best. But I cannot bring myself to recommend this movie. There are so many films out in the world and a good many are better than this. I'm glad I've seen it, but I won't be revisiting The Wolf again - though I may borrow that possession idea for a story of my own.

Sit! Roll Over! Play Dead! Good wolfy. Now change back and check out my IMDb list - Absolute Horror to see where I ranked The Wolf.

Take Care & Stay Well.

(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.