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[edit] Plot
After learning of the death of his brother, Larry Talbot (Lon Chaney, Jr.) returns to his ancestral home in Llanwelly, Wales to reconcile with his estranged father, Sir John Talbot (Claude Rains). While there, Larry becomes romantically interested in a local girl named Gwen Conliffe (Evelyn Ankers), who runs anThroughout the film, various villagers recite a poem, whenever the subject of werewolves comes up:
- Even a man who is pure in heart
- and says his prayers by night
- may become a wolf when the wolfbane
blooms - and the autumn moon is bright.
On the first night of the full moon, Talbot transforms into a wolf-like creature and stalks the village, first killing the local gravedigger. Talbot retains vague memories of being a werewolf and wanting to kill, and continually struggles to overcome his condition. He is finally bludgeoned to death by his father with his own silver walking stick after attacking Gwen. Sir John Talbot watches in horror as his son transforms back into a human form as the local police arrive on the scene.
[edit] Cast
- Lon Chaney, Jr. as Larry Talbot / The Wolf Man
- Claude Rains as Sir John Talbot
- Warren William as Dr. Lloyd
- Ralph Bellamy as Colonel Montford
- Patric Knowles as Frank Andrews
- Béla Lugosi as Bela
- Maria Ouspenskaya as Maleva
- Evelyn Ankers as Gwen Conliffe
- J.M. Kerrigan as Charles Conliffe
- Fay Helm as Jenny Williams
- Forrester Harvey as Twiddle
[edit] Production
The poem, contrary to popular belief, was not an ancient legend, but was in fact an invention of screenwriter Siodmak. The poem is repeated in every subsequent film in which Talbot/The Wolf Man appears, with the exception of House of Dracula and Abbott and Costello Meet Frankenstein, and is also quoted in the later film Van Helsing, although many later films change the last line of the poem to "And the moon is full and bright".The original Wolf Man film does not make use of the idea that a werewolf is transformed under a full moon. Gwen's description and the poem imply that it happens when the wolfbane blooms in autumn. The first sequel, though, made explicit use of the full moon both visually and in the dialog, and also changed the poem to specify when the moon is full and bright. Presumably this is what popularized the full-moon connection in the 20th century. The sequel visually implies that the transformation occurs as a result of direct exposure to light from the full moon. Other fiction has assumed the transformation is an inescapable monthly occurrence and does not examine whether it is caused by light, tidal effects, or some cycle that happens to coincide with the moon's phases.
[edit] Special effects
In the original film, Chaney did not undergo an on-screen transformation from man to wolf, as featured in all sequels. The lap-dissolve progressive make-ups were seen only in the final ten minutes, and then discretely: Talbot removes his shoes and socks, and it is his feet which are seen to grow hairy and transform into huge paws (courtesy of uncomfortable "boots" made of hard rubber, covered in yak hair). In the final scene, the werewolf does gradually become Larry Talbot through the standard technique.The transformation of Chaney from man into monster was laborious. The makeup by Jack Pierce had been designed originally for Henry Hull and the film Werewolf of London but it was uncomfortable to wear and difficult to apply and Hull refused to wear it. Chaney, eager to follow in his father's footsteps, adopted it as his own. Chaney, who was known to stretch the truth at times[citation needed], claimed he was forced to sit motionless for hours as the scenes were shot frame by frame. At times he claimed he was to remain sitting even while the crew broke for lunch and was not even allowed to use the bathroom. Chaney even went as far as saying special effects men drove tiny finishing nails into the skin on the sides of his hands so they would remain motionless during close ups. However none of this is true, studio logs indicate during the filming of Abbott and Costello Meet Frankenstein (1948) the entire crew, including Chaney took a two hour break during the filming of a transformation and filmed the rest of the scene later that day (though the makeup for Abbott and Costello Meet Frankenstein had been greatly redesigned and streamlined by Bud Westmore over the original Jack Pierce makeup). What really happened was a plaster mold was made to hold his head absolutely still as his image was photographed and his outline drawn on panes of glass in front of the camera. Chaney then went to makeup man Jack Pierce's office, where Pierce, using grease paint, a rubber snout appliance and a series of wigs, glued layers of yak hair to Chaney's face. Then Chaney would return to the set, line himself up using the panes of glass as reference and several feet of film were shot. Then the make-up was removed and a new layer was applied, showing the transformation further along. This was done about a half-dozen times. Talbot’s lap dissolve transformation on screen only took seconds, while Chaney’s took almost ten hours.
According to ballyhoo from Universal's publicity department, World War II was responsible for the brevity of Chaney's hirsute appearance in the last serious sequel, House of Dracula (1945). According to a small blurb in that film's press book, a nationwide lack of yak hair from the Orient prevented the character from appearing in more scenes. The Wolf Man appears with bare, non-hairy hands in one shot of House of Frankenstein (1944), but this was an on-set gaffe.[citation needed]
[edit] Sequels
The Wolf Man proved popular, and so Chaney reprised his signature role in four more Universal films, though unlike his contemporary "monsters," Larry Talbot never enjoyed the chance to have a sequel all to himself. Frankenstein Meets the Wolf Man (1943) had Talbot’s grave opened on a full moon night, causing him to rise again (making him, in the subsequent films, technically one of the undead). He seeks out Dr. Frankenstein for a cure, but finds the monster (Béla Lugosi) instead. The two square off at the climax, but the fight ends in a draw when a dam is exploded and Frankenstein’s castle is flooded. In House of Frankenstein (1944), Talbot is once again resurrected and is promised a cure via a brain transplant, but is shot dead with a silver bullet instead. He returns with no explanation in House of Dracula (1945), and is finally cured of his condition. But he was afflicted once again, in the comedy film Abbott and Costello Meet Frankenstein (1948). This time the Wolf Man is a hero of sorts, saving Wilbur Grey (Lou Costello) from having his brain transplanted by Dracula (Bela Lugosi) into the head of the Monster (Glenn Strange). Grabbing the vampire as he turns into a bat, the Wolf Man dives over a balcony into the sea, taking Dracula with him.[2][edit] Legacy
 | This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2011) |
The Wolf Man is the only Universal monster to be played by the same actor in all his 1940s film appearances. Lon Chaney, Jr. was very proud of this, frequently stating in interviews: "He was my baby".[3] Chaney would go on to play a wolf man (if not the Wolf Man) in very similar makeup in the 1959 Mexican film La Casa del Terror and a famous 1962 episode of TV's Route 66 titled Lizard's Leg and Owlet's Wing, which also starred Boris Karloff as the Frankenstein Monster. Nearly a decade later, even though he was seriously ill at the time, Chaney managed to conjure up his original energetic gestures while masked in a quasi-wolfish rubber mask for one scene in his last (and most unfortunate) film, 1971's Dracula vs. Frankenstein.
The Wolf Man was not Universal's first werewolf film. It was preceded by Werewolf of London from 1935, starring noted character actor Henry Hull in a quite different and more subtle werewolf makeup. As noted previously, Hull objected to having his face entirely covered in latex and hair, and a less-hirsute, more devilish version was used in the film. The film was not a huge box office success, probably because audiences of the day thought it too similar in many ways to Dr. Jekyll and Mr. Hyde, for which Fredric March had won an Oscar three years before. Some latter-day critics prefer Jack Pierce's earlier werewolf to Chaney's, which was described in Carlos Clarens's book An Illustrated History of the Horror FIlm as "... looking like a hirsute Cossack."
The Wolf Man is one of three top-tier Universal Studios monsters without a direct literary source. The others are The Mummy and the Creature from the Black Lagoon. In the 1970s, novelizations of the original films were issued as paperback originals as part of a series written by "Carl Dreadstone," a house name pseudonym for a several writers, including British horror writer Ramsey Campbell.
Fantasy/horror author Neil Gaiman uses the "Larry Talbot" character in two selections from his short story collection Smoke and Mirrors. Harlan Ellison's Hugo Award winning "Adrift just off the Islets of Langerhans, latitude 38 degrees, 54' N., longitude 77 degrees, 00' 13' W." uses "Laurence Talbot" as the main character. Heavy metal band Iced Earth's track "Wolf" from the album Horror Show, has the wolf bane poem recited in its main chorus with some added words in between. Similarly, the track "Howl" by Florence + The Machine (from the album Lungs) features a slightly edited version of the poem in the closing verse. Cradle of Filth used the poem as the intro to their track entitled "Queen of Winter, Throned" on the album V Empire. The character of Jon Talbain, a werewolf attempting to overcome his curse in the Darkstalkers game series, bears a resemblance to the character of Larry Talbot in name and in characterization, made doubly so by the fact that the series primary characters are all homages to horror movie archetypes.
The Wolf Man also had an impact on future filmmakers as well. Cult films such as An American Werewolf in London and The Howling drew inspiration from The Wolf Man and made references to the film as well.
- American Film Institute Lists
- AFI's 100 Years...100 Thrills - Nominated[4]
- AFI's 100 Years...100 Heroes and Villains:
- The Wolf Man (Larry Talbot) - Nominated Villain[5]
- AFI's 100 Years of Film Scores - Nominated[6]
[edit] Universal Legacy Collection DVD
On April 27, 2004, Universal released The Wolf Man on DVD as part of the Universal Legacy Collection. This two disc edition included four films:The DVD collection also included the following bonus features:
- Documentary hosted by Van Helsing director Stephen Sommers
- Monster by Moonlight documentary hosted by John Landis
- The Wolf Man commentary from film historian Tom Weaver
- Theatrical trailers for Werewolf of London, Frankenstein Meets the Wolf Man, and She-Wolf of London.
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