La Nuit du loup-garou

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.

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.

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.

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

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.