The Art Of Universal #4

It's quite a busy blog this, so sometimes occasional features get a bit left out. But I always remember them in the end. So, about fifteen months since the last instalment, here's part four of 'The Art Of Universal', now with slightly scruffy gif. technology!

If there's one thing I love more than the way Larry Talbot's face changes into The Wolfman, it's what happens to his feet.

Taken from the 1944 monster-fest 'House Of Frankenstein'.

Beasts: What Big Eyes

‘What Big Eyes’ was the penultimate episode of the superb Nigel Kneale written series ‘Beasts’, and was originally shown on 13^th November, 1976.

A young Michael Kitchen plays an idealistic RSPCA inspector who discovers a mad scientist (Patrick Magee) who conducts inhumane experiments on wolves, believing them to be mankind’s true ancestors. The scientist’s goal is to become a lycanthrope and, although his work will eventually kill him, he is convinced that, on death, he will turn into a werewolf.

A slow burning episode with a subtle but subliminally shocking denouement, ‘What Big Eyes’ is perhaps the lowest key episode of the series, a subtle psychological drama totally dominated by a wild eyed performance from the reliably out there Patrick Magee. Magee was one of the most incredibly intense actors to ever grace stage and screen, his performances are often almost incoherently angry. He died from a massive heart attack at the age of 60: I’m surprised his ticker actually held out that long.

Legendary?

'Legend Of The Werewolf' (1975) was a product of the short lived British production company, Tyburn. Set up by Freddie Francis's producer son, Kevin, they only managed three films under the Tyburn imprint before disappearing, but they're all horror films and will all eventually end up on these virtual pages.

Directed by the brilliant Freddie Francis, 'Legend Of The Werewolf' is a not particularly brilliant film, but it's unpretentious and easy to watch. The tale of a boy raised by wolves who grows up to be a werewolf, it doesn't take itself particularly seriously, and relies on strong performances from old, safe hands Peter Cushing, Hugh Griffith and, in a wig and false teeth that make him look like a cross between old man Steptoe and Barry Gibb, Ron Moody.

The werewolf make up is strongly reminiscent of 'Curse Of The Werewolf' from 14 years earlier (i.e. exactly the same) and the storyline, in which the werewolf revenges himself against people who slighted him and his prostitute girlfriend, is a familiar British horror film device, although they don't really stick to it for long.

Still, I like it.

Legend Of The Werewolf

Hairy Noon & Nighty Night Night

For some reason, 'Classic British Horror' tended to steer away from films about werewolves, I don't know why, perhaps the make up is too expensive. It's a shame, as the few examples I can think of are pretty good, particularly 'Curse Of The Werewolf' (1961), which is absolutely terrific.

Set in 19th century Spain, a lengthy prologue shows us exactly how a werewolf is made: a crazy feral tramp rapes a buxom deaf mute and makes her pregnant. Sorry, if that's unnecessarily scientific for you. The result of this unholy union is Leon, a sweet little boy who kills sheep at full moon and grows into a young Oliver Reed. Reed is perfect in the role - likeable, but full of brooding intensity. When he flips, and flip he flipping well does, he makes one angry, bloody, white werewolf.

Excellent stuff, from Terence Fisher's fluid direction to the innovative look of the monster, it's a shame Hammer didn't follow this up with a series of sequels. They made four Mummy films, for instance, and everyone knows a werewolf is better than a mummy. You couldn't make it up.

Curse Of The Werewolf