THE WOLFMAN
US, 2010, 105 minutes, Colour.
Benicio Del Toro, Anthony Hopkins, Emily Blunt, Hugo Weaving, Geraldine Chaplin, Anthony Sher, Art Malik.
Directed by Joe Johnston.
A very satisfying and even elegant horror film for those who prefer classic horror movies rather than the contemporary slasher fads. It is based quite closely on the 1941 film of the same name with Lon Chaney Jr, Claude Rains and Evelyn Ankers, written by Curt Siodmak. The 40s film was set at that time. This version goes back to 1891 and amplifies some aspects of the story, especially in the role of the father of the wolf man, Sir John Talbot.
First of all, the film looks very good indeed. The attention to detail and design to take us back into this Victorian period has been painstaking. Sets, costumes and effects mean that the audience is taken into this world to feel at home in it as well as to feel quite uncomfortable once the eerie proceedings begin. Danny Elfman's atmospheric score is reminiscent of the music themes by Wojciech Kilar for Coppola's Bram Stoker's Dracula – which also immersed its audience in the 1890s.
One of the best features of the screenplay and direction is that there is no tongue-in-cheek ironic dialogue or send-up of the genre. It is played seriously and straight and with quite some intelligence.
There have been myths of lycanthropy throughout the ages. The film industry since the 1930s has not been slow in providing many a movie of wolf men, including the classic An American Werewolf in London (whose make-up artist, Rick Baker, is responsible for the transformations here), Wolf with Jack Nicholson and the more recent Underworld series. This version, however, as with the recent ironic graphic novel treatment of Sherlock Holmes by Guy Ritchie, delves into the literature of the 19th century and seems, in its settings to draw on Wuthering Heights, Jane Eyre, The Hound of the Baskervilles and Many Dickens' stories.
When Lawrence Talbot (Benicio del Toro) is touring in London from the US (we see the Yorick scene from Hamlet), he receives a letter from Gwen Conliffe (Emily Blunt), his brother's anxious fiancee. It soon emerges that his brother has been savagely killed and the villagers (out of Hardy and other novelists, perhaps) suspect local gypsies and their carnival bear. But, the full moon soon makes everyone realise that a wolf is on the prowl – and indiscriminately killing its prey.
Lawrence promises Gwen that he will search for his brother's killer. Meantime, he is reconciled with his father, Sir John (Anthony Hopkins).
There is a trend in literature and cinema that human beings can be at the prey of meaningless malevolence (think of The Birds or Jaws). Lawrence, worthy as he is, is wounded by the wolf and...
An inspector from Scotland Yard (Hugo Weaving), who had headed the Ripper case some years earlier, is sent to investigate Lawrence. His father has Lawrence committed (there is a history of alleged insanity after the violent death of his mother) and an arrogant doctor (Anthony Sher) uses him as a display case for delusions. Unfortunately for him and many others, he times his display at the full moon.
The cast (which also included Geraldine Chaplin as a gypsy) give a sense of elegance and decorum even to the horror. Director Joe Johnston (who made Honey, I Shrunk the Kids, some time ago as well as Jurassic Park III) keeps the tension simmering. In fact, there are two moments when we might jump in our seats even before the title appears (and several after that). The Wolf Man is very well done.
1.The classic status of the 40s film? This film as a satisfying remake? The basis in the first film and its screenplay? Its success in developing the theme?
2.Lycanthropy, the animal in the human, the shadow side, primitive, urges, violence, destruction and killing?
3.The background of malevolence, human victims of a force outside themselves, losing control, their wills manipulated? The change, the possibility for remorse or not? Death as the only way out?
4.The setting in the 19th century, Britain, the sets and design, the costumes, the evocation of 19th century atmosphere? In the village, on the family estate, the scenes of London? The asylum? The city? Costumes and décor? The atmospheric score?
5.The initial shocks, audiences jumping from their seats – and later in the film as well? Making the audience edgy? The presentation of the Wolfman, the makeup and effects, the violence, blood, gore? The context for a more intelligent interpretation of the myth?
6.Lawrence Talbot, performing as Hamlet, the Yorick scene? The letter from Gwen? Living in America, touring the world? Estranged from his family – and the film filling in the reasons for this estrangement throughout the film? His response to Gwen, return home, the encounter with his father, the dilapidated mansion? The father using the image of the prodigal son – in an inverted manner? The death of Ben, the effect on Lawrence? His promise to Gwen to find out what happened?
7.Sir John Talbot, his history, a hunter, in India, bringing Singh back home, Singh and his role in serving Sir John, keeping him safe? The twenty-five years? The story of Sir John’s wife, her death, her portrait? His letting his property go – his being the prodigal father? His welcoming of Gwen, thanking her? The irony of his knowing the truth? The truth about the deaths?
8.Ben’s death, Lawrence going to view the corpse? The discussions by the citizens of the town? Suspicions of the gypsies, their becoming a mob, confronting the gypsies, the carnival bear and its savagery, the police and trying to control the attack? The appearance of the Wolfman, the indiscriminate killings and woundings? Maleva and her role in the gypsy camp, helping Lawrence after his being wounded? The different reactions as to whether he should die or not? Maleva travelling with the gypsies, Gwen tracking her down, helping Gwen, urging love?
9.Inspector Aberline, from Scotland Yard, the chief investigator for Jack the Ripper killings? His suspicions, visit to Lawrence, Lawrence’s hostility? Staying in the village, the wife of the innkeeper upbraiding him? His presence, the various traps? Going to the house, his failure in the countryside? In London, at the asylum, observing? Returning to the village, the elaborate preparations for the hunt, the chase? His being injured – his future?
10.Lawrence and his relationship with his father? Discovering Singh dead? Discovering Singh’s control over Sir John? Lawrence’s initial illness, recovering quickly? The doctor puzzled? The full moon, the visuals of the transformation, the hounding by the Wolfman, wounding, killing? His being captured and taken to the asylum? His being in the asylum in the past after the death of his mother? The doctor, his treatment, cruel, immersion in the iced water? The doctor thinking Lawrence suffered from delusions? His show speech, the big audience, listening, the full moon, the transformation of Lawrence, the death of the doctor and his being impaled?
11.Lawrence’s escape, over the rooves of London, the attempts to shoot him? Hiding in Gwen’s shop, her helping him? Her refusal to inform the inspector? Lawrence making his way back to the village, confronting his father?
12.Sir John, the truth, the full moon, both transformed, their fight, Sir John killed in the fire?
13.Gwen, searching out the gypsies, returning to the village, her declaration of love for Lawrence? Her pursuing him, out in the forests, at the edge of a cliff? Lawrence and his eyes, Gwen killing him?
14.The conventions of the horror film – but a more elegant and intelligent treatment of the themes (without any ironic tongue-in-cheek satire or spoof)?
