‘The Curse of the Werewolf’ is One of Hammer’s Most Delicate and Emotionally Reflective Films [Hammer Factory]

‘The Curse of the Werewolf’ is One of Hammer’s Most Delicate and Emotionally Reflective Films [Hammer Factory]


Whereas Hammer Studios has been in enterprise since 1934, it was between 1955 and 1979 that it towered as one of many premier sources of edgy, gothic horror. On prime of ushering the well-known monsters of Common’s horror heyday again into the general public eye, resurrecting the likes of Frankenstein, Dracula and the Mummy in vivid colour, the studio invited performers like Christopher Lee, Peter Cushing, Ingrid Pitt and so many extra to step into the style limelight. Spanning a library housing over 300 movies, Hammer Studios is a key a part of horror historical past that till not too long ago has been far too troublesome to trace down.

In late 2018, Shout Manufacturing unit’s Scream Manufacturing unit line started to concentrate on bringing Hammer’s titles to disc within the US, lastly making lots of the studio’s underseen gems out there in packages that provided nice visuals in addition to insightful accompanying options. Over the course of this column, I’ll concentrate on these releases, gauging the movies in context of the Hammer Studio story in addition to analyzing the deserves of the discharge. It’s time to spotlight the ability, influence and affect of Hammer Studios and ignite new dialog surrounding some forgotten classics.

Welcome to the Hammer Manufacturing unit. This month we dissect The Curse of the Werewolf.

The Context

By the early 1960’s Hammer had reached its golden age. The studio had succeeded in branding themselves as the brand new face of horror, taking the reins from the Basic Common slate of monsters and carrying these figures into surprising new territory. That they had tackled Dracula, Frankenstein, the Mummy and Dr. Jekyll & Mr. Hyde, and now it was time to place their stamp on the Wolfman.

On the similar time, the BBFC (British Board of Movie Classification) was turning into progressively extra disgruntled with Hammer’s output. As well as, current releases of movies like Psycho (1960), Circus of Horrors (1960) and Peeping Tom (1960) had led to quite a lot of backlash by the final press aimed on the BBFC’s lack of sensory motion. New management was instituted on the BBFC and the board adopted a good stricter and extra extreme standpoint than it had beforehand held. They wanted to set an instance and Hammer Studios was poised to be simply that.

The Curse of the Werewolf (1961) was developed by author and producer Anthony Hinds, who primarily based the screenplay on Man Endore’s novel The Werewolf of Paris, which was accessible attributable to a newly struck take care of Common Studios. The script was submitted to the BBFC together with a Spanish Inquisition venture titled The Rape of Sabena. The BBFC made it clear to Hinds in no unsure phrases that each movies could be banned from exhibition in Britain in the event that they have been produced as written. Add to this the truth that the Catholic Church had outright forbade Hammer from making and distributing Sabena and it wasn’t lengthy earlier than each movies have been pulled from manufacturing.

Nonetheless, elaborate units had already been constructed for Sabena and Hinds was unwilling to allow them to go to waste. The Curse of the Werewolf was retooled, transplanted from Paris to Spain and rewritten to replicate character names and conditions that will swimsuit the places. Veteran Hammer director Terence Fisher was introduced onboard, who in flip instated Oliver Reed in what could be the actor’s first lead efficiency in a significant movement image. Certainly, with the person who guided Dracula, Frankenstein and the Mummy for the studio on the helm, the werewolf was all set to obtain its Hammer redux.

When the completed movie was submitted to the BBFC for evaluation, the lower was shredded. Hammer had fully ignored the board’s warnings and, as such, obtained phrase that almost every bit of violence, each shot of blood and even the majority of the scenes that includes the werewolf within the remaining act must be eliminated. Irreparably damaging the narrative and crippling the movie’s business prospects, the studio was pressured to launch a neutered lower to what would find yourself being disappointing field workplace outcomes and middling critiques.

It wasn’t till the early 1990s that The Curse of the Werewolf was restored and launched to the general public because it was meant to be seen some 30 years prior. The movie was reevaluated and plenty of quickly considered it as certainly one of Hammer’s greatest, most good-looking efforts. Whereas the movie did little to gradual Hammer on the time, its efficiency definitely quelled any hope of a comply with up, making the werewolf certainly one of Hammer’s solely Common monster iterations to obtain only a single image.

At this time the movie stands in Hammer’s filmography as a superbly photographed, nuanced tackle the duality of man as seen by means of the lens of the werewolf mythos. It served as a launching pad for Oliver Reed’s formidable profession, it featured certainly one of frequent Hammer results artists Roy Ashton’s best designs and carried a surprising, experimental rating by Benjamin Frankel. Altogether, the movie is a grand instance of the artistry thriving in Hammer’s productions on the time.

No matter field workplace or franchise potential, The Curse of the Werewolf holds its personal with any of Hammer’s different iconic properties. Greater than that, it serves as proof that censorship is usually short-sighted and momentary, willed out ultimately by the inquiring minds of the viewers such bowdlerizations are in place to supposedly defend.

The Movie

“A werewolf is a physique with a soul and a spirit which can be continuously at conflict.”

Out of the darkness a pair of eyes swim into focus. Brown and bloodshot, they dangle under a ridged forehead and simply above a nostril lined with wiry hairs. Whereas animalistic in nature, they replicate a forlorn high quality that’s undeniably human. Certainly, because the opening titles grace the display, accompanied by a disarming rating which appears to defy the size itself, a tear types and falls down the factor’s coarse cheek. These are eyes evoking not concern, however unhappiness.

This preliminary glimpse on the movie’s title draw serves an essential perform, establishing the painful dichotomy between man and beast properly earlier than the story has even begun forging its path. Somber and introspective, The Curse of the Werewolf charts its fairytale-like course with considerate visualization, crafting an expertise that appears far much less excited by terror than it’s in emotional effectiveness.

Director Terence Fisher shepherds the movie with a gentle hand, a formidable process given the breadth and scope of the narrative. Elegant and provocative pictures apart, every act of the story presents its personal set of compelling, well-drawn characters, amounting to an ensemble piece moderately than a star-focused car like so lots of his different basic horror variations. This detour from the construction of movies like The Curse of Frankenstein (1957) and Dracula (1958) permits The Curse of the Werewolf to have its personal distinct taste and persona even amongst the titans of Hammer’s intensive reservoir.

The movie opens with a wandering beggar, performed with simply the correct quantity of naiveté by Richard Wordsworth, accompanied by an omniscient narrator as he navigates the unusually empty streets of a township he’s passing by means of. The beggar’s journey together with the alluding voice-over recitation has the impact of casting the classical haze of some well-worn fable over the proceedings. Though, given the tone already set by the opening titles, it’s with out query that this might be a narrative of fatalism and tragedy. Because the title suggests: cursed.

Earlier than lengthy the beggar finds himself on the foot of the dinner desk of the merciless and despicable Marqués Siniestro as he celebrates his wedding ceremony day with the higher crust of society. Portrayed by frequent Terence Fisher collaborator Anthony Dawson, the Marqués’ flippant disregard for humanity and irrational emotional swings make his handful of minutes onscreen immensely entertaining and memorable.

After making what the Marqués determines to be a brash comment towards his new spouse, the beggar is thrown within the dungeon and forgotten. Years cross and the beggar ages right into a monstrous, senseless shell of an individual, his solely good friend the mute daughter of his jailer. Portrayed by Yvonne Romain in a nuanced and harrowing efficiency, she quickly joins the beggar within the dungeon after rebuking the getting older Marqués’ advances.

It’s right here that the movie begins to touch upon the interconnected nature of man and animal, properly earlier than a werewolf enters into the fray. Through the years, the reclusive Marqués has modified to appear like a rotting corpse, a ghoulish satan pushed by lust and energy. The beggar too has remodeled into a dirty, furry brute, one thing solely in fulfilling its most innate, carnal wishes.

Caught between the 2, Yvonne Romain’s mute beggar woman is handled like nothing greater than flesh for consumption. In a disturbing flip, taken from Man Endore’s novel The Werewolf of Paris (1933) from which the movie was primarily based, the woman is assaulted and raped by the beggar. This sparks her conviction to homicide the Marqués and escape the confines of the fort.

The movie then begins to take the form of what its title guarantees, making certain that its titular curse is absolutely fleshed out earlier than the complete moon ever comes into play. The servant woman finds refuge with Don Alfredo Corledo and his housekeeper Teresa, affectionately performed by Clifford Evans and Hira Talfrey respectively. The familial care they provide stands in hanging distinction to the barbarism of the poor girl’s tragic previous.

This care extends to her illegitimate little one as properly, as Don Alfredo and Teresa nurse the mute girl all through her being pregnant. The child arrives on the stroke of midnight on Christmas Day, an prevalence the midwife makes an attempt to obviate by means of herbs and pagan wards because of the perception that an undesirable little one born on the hour of the lord’s beginning is an affront to God. Whereas Don Alfredo laughs off such a notion, there’s simple uncertainty in his eyes when he hears the newborn’s wolf-like cries alongside the chiming bells ushering in Christmas Day.

Nevertheless, love wills out. The child is born and embraced by those who helped it arrive: the midwife, Teresa, Don Alfredo and, for a second, his grinning mom. Her smile and his life is all she is ready to afford the kid, nonetheless, as the sunshine leaves her eyes seconds later. The child belongs to Don Alfredo and Teresa, caretakers prepared to miss the circumstances, the dangerous omens and even the boiling Holy water on the boy’s baptism within the stead of their proclaimed son’s greatest pursuits.

Whereas the story takes its time attending to the meat and potatoes of its conceit, the purposeful, measured strategy is without doubt one of the movie’s best property. Because the younger boy matures and goats start to be devoured within the evening, there’s a way of mysticism and inevitability which accompanies the horrific proceedings. Tradition, religion and conviction play an essential position within the werewolf’s curse— this isn’t merely a boy struck with some ailment, that is the fruits of a society’s darkish previous. That is humanity reaping the evil it has wrought.

It’s roughly midway by means of the image that the younger boy grows up and the movie introduces its protagonist in the best way of Oliver Reed’s Leon Corledo. Quiet, reserved and sporting a glance of perpetual remark, Oliver Reed carries out his first lead characteristic efficiency with a formidable diploma of gravitas and care. His skill to navigate the murky waters of his progressive lack of self blended along with his burgeoning wanton wishes is what lies on the coronary heart and soul of the movie.

The philosophical examination of affection, lust, energy and violence that runs by means of the pages of Anthony Hinds’ script involves life within the type of Leon’s relationship with Cristina (Catherine Feller). Whereas love quells his blaspheming, lust ignites it. There’s confusion buried inside the wavering guidelines that appear to dictate Leon’s transformations, a lot as there may be within the ethical bindings of the world round him. In spite of everything, Leon himself was born of lust and love. Violence sparked his existence however care nurtured him into the world. His curse, it appears, is to be beholden to each. The great and the evil.

Terence Fisher does a implausible job of balancing the movie’s thematic battle between gentle and shadow, each figuratively and actually. He carries Oliver Reed’s character out and in of lengthy, dimly lit stone rooms and out from beneath the darkish shade forged by sloping roofs within the evening in tandem along with his character’s wavering psychological state. He leverages the spectacular units and full colour pallet in each body, crafting visuals that serve the nuances of the story simply as a lot as something within the script.

When the werewolf lastly does make an look within the final act, it’s Roy Ashton’s results work that takes heart stage. Having spent quite a lot of time learning the physiology of wolves, Ashton introduced his personal distinctive sense of creativeness to the design, crafting one thing monstrous and uncooked fastidiously stitched with humanity’s fragile thread.

The movie climaxes with the werewolf dealing with off towards an archetypal mob of townsfolk clamoring after inconsiderate vengeance. But it surely’s not the chase, the violence or the motion that gives the movie with a satisfying ending. Quite, it’s the care with which it follows Leon’s adopted father’s sorrowful trek towards his son as he carries the silver bullet that solely he can hearth. In spite of everything, because the movie and most fairy-tales recommend, solely love can save the cursed.

The Curse of the Werewolf is a unique sort of werewolf film, much less about transformation sequences and howling on the moon and extra in regards to the inner battle of the stricken psychological state. Whereas it stood accused on the time of its launch of showcasing gratuity and offensive violence, the movie emerges many years later as certainly one of Hammer’s most delicate and emotionally reflective works.

Brilliantly directed, splendidly carried out and boasting a surprisingly impassioned narrative from begin to end, it is a movie that leverages the concept of a monster to deal in humanity. In spite of everything, the movie opens and closes on a tear, gracing the cheek of one thing that, whereas not fully human, is deeply relatable all the identical.

The Particular Options

This launch comes outfitted with a brand new 4K scan from the interpositive from Shout! in an enormous step up from Common’s 2016 switch. Element is extremely fantastic, permitting for elegant costume textures and elaborate results work to leap off the display in addition to sustaining the gradations between gentle and shadow all through. The DTS-HD Grasp Mono monitor is consistent with earlier Hammer releases, supporting dialogue properly whereas nonetheless carrying the highly effective rating to the forefront, crafting what is definitely the most effective dwelling presentation this movie has but obtained.

Audio Commentary, by Writer/Movie Historian Steve Haberman and Filmmaker/Movie Historian Constantine Nasr


In yet one more great Hammer-centric commentary monitor, Scream Manufacturing unit regulars Steve Haberman and Constantine Nasr share their considerate perception on the manufacturing, thematics and artistic logistics of The Curse of the Werewolf.

Describing the movie as Terence Fisher’s generational saga of transferred evil, the 2 contact on Fisher’s visible decisions, the sophisticated historical past of the manufacturing and supply an in depth evaluation of how the movie compares to the unique novel that it’s primarily based on, 1933’s The Werewolf of Paris written by Man Endore.

Each Haberman and Nasr exude quite a lot of love and admiration for the movie and its legacy, making certain that director Terence Fisher’s deeply private connection to the image is on the forefront of the dialog. Additionally of word is the best way through which they constantly reference direct passages from Anthony Hinds’ script, permitting the listener to see how the web page got here alive on the display by means of Terence Fisher’s beautiful visible prowess.

Finally it is a monitor laced with quite a lot of care and respect for certainly one of Hammer’s best productions. As soon as once more, Steve Haberman and Constantine Nasr ship a necessary pay attention for Hammer followers, offering anecdotes, observations and a way of historical past that serves to amplify and strengthen one’s appreciation for the movie.

Audio Commentary, by Actress Yvonne Romain, Particular Results Artist Mike Hill and Composer Leslie Bricusse


Particular results artist Mike Hill chats with actress Yvonne Romain (together with her husband Leslie Bricusse quietly in tow) about her expertise making The Curse of the Werewolf on this conversational commentary monitor.

The majority of the recording issues Mike Hill prompting Yvonne Romain with questions and speaking factors, producing dialogue on her relationships with Hammer studios and their gamers. The dialog traverses her profession with rosy eyes and infectious nostalgia, carried by Yvonne Romain’s enduring charisma.

The monitor is marred with considerate pauses and primarily based extra in memory than informative evaluation, conveying a lot of what’s already current within the particular options Ms. Romain seems in elsewhere on the disc. Die laborious followers of the movie will in all probability recognize the actress’ musings however, all in all, that is one the final viewers can skip.

The Males Who Made Hammer: Roy Ashton (19:12)

(New: 2020, produced by Shout Manufacturing unit)

Richard Klemensen, Editor and Writer for Little Shoppe of Horrors Journal, talks at size about his lifelong friendship with Hammer Results Artist Roy Ashton, offering an intimate look into who Ashton was as an individual, not simply an artist. Klemensen describes how Ashton had a hand in most all of Hammer’s most well-known monsters, making word that The Curse of the Werewolf was his opus, and discusses the artist’s frustration relating to funds constraints and administration points. Klemensen expresses nice love and affection for Ashton, regaling the viewer with tales of wet Stonehenge sightseeing, attending Hammer’s first fan conference with Ashton and, with quite a lot of emotion, Ashton’s battle with dementia alongside along with his eventual dying. The section is a lovely tribute to an awesome artist and one very a lot price taking the time to expertise.

Serial Killer: Benjamin Frankel, Serialism and The Curse of the Werewolf (21:52)

(New: 2020, produced by Shout Manufacturing unit)

David Huckvale, writer of Hammer Movie Scores and the Musical Avant-Garde, offers a quick historical past of prolific movie composer Benjamin Frankel in addition to a lesson in serialism and musical idea. Claiming outright that of his greater than 100 movie scores, The Curse of the Werewolf was his most essential, Huckvale performs his notes on the piano to display how Frankel leveraged the movie to convey serialism to Britain and presaged the nice down of tonality. He exhibits the viewer how serialism challenges the concept of main and minor keys, rearranging the chromatic scale to create tone rows that don’t have any reference to tonal shapes. The characteristic is a little bit dry however extremely informative and fully recontextualizes the musical footprint of the movie.

The Making of The Curse of the Werewolf (46:11)

(2015, Closing Minimize Leisure)

That includes movie historian and results artist Mike Hill, Actress Catherine Feller, Actress Yvonne Romain and extra, this making of documentary is ported over from the 2015 UK blu-ray launch of the movie.

Whereas the characteristic covers the movie’s transformation from guide to display, the censorship points and the historical past behind its repurposed Spanish units, it’s the anecdotes provided up by the actresses that make this price tuning in to. Between Catherine Feller’s confession that her husband exhibits the film at events to impress his company and Yvonne Romain’s confusion about being the marketed sufferer of the movie regardless of by no means interacting with the werewolf, there’s an awesome deal to be entertained by.

The dialog finally turns to Oliver Reed. His efficiency, his profession and his private life get a fast, attention-grabbing examination, finally resulting in dialogue of everybody’s fondness for Terence Fisher and his perception within the younger, at that time, unproven actor. It falls a bit into plot-recap territory right here and there and will not absolutely justify its runtime, however the interviewees supply sufficient wit and appeal to the proceedings to make this price viewing.

Lycanthropy: The Beast in All of Us (3:28)

(2015, Closing Minimize Leisure)

An extremely brief section analyzing the variations between a lycanthrope and a werewolf that includes the identical gamers from the The Making of the Curse of the Werewolf. Whereas a enjoyable little curio positing that werewolves derive from the true life manic depressive situation often called lycanthropy, this finally looks like free finish edits strung collectively in an effort to flesh out the particular characteristic record.

Censoring the Werewolf (13:48)

(2015, Closing Minimize Leisure)

Jonathan Rigby, writer of English Gothic, offers an in depth evaluation of what was taking place within the British movie business surrounding the manufacturing of The Curse of the Werewolf and why it was the studio skilled a lot outrage from the board of censors. He talks in regards to the warnings that have been issued to Hammer Studios and the way the movie was considered as an affront to the fee after it was accomplished. He expands on the edits that Hammer was pressured to execute and the detrimental value of these cuts to the completed movie, charting the course to its eventual restoration and reevaluation in 1992. A really attention-grabbing take a look at censorship and artwork in early 60s Nice Britain.

Trailers From Hell: The Curse of the Werewolf (2:37)

(2014, Trailers From Hell)

Ported from the web site Trailers From Hell, John Landis hosts the theatrical trailer for The Curse of the Werewolf. Introducing himself as Terence Fisher, Landis feedback that Werewolf is Hammer’s greatest trying movie, notes that the complete moon isn’t in shut up and compliments Oliver Reed in his werewolf make-up. It’s humorous, notably a bit about how a lot werewolves merely like to hurl flaming bails of hay at folks, and encourages the uninitiated to hunt out the movie.

Theatrical Trailer (1:51)

The title flies on the display in inexperienced font. Photographs of the church and the Spanish city usher within the narrator’s claims that “the evening introduced consuming and dancing and women and the moon… the complete moon… that turned an harmless man right into a savage beast!”

The rest of the trailer is devoted to photographs of the werewolf from the climax of the movie, revealing most each second that the monster seems on display. With guarantees that “THEIR DREAM OF LOVE” will grow to be “A NIGHTMARE OF HORROR”, the trailer appears to point a much more motion oriented image than what Terence Fisher would go on to ship.

Radio Spot (0:28)

A fast, static-encrusted radio business for the movie, boasting “double thrill, double chill” and “Evil beast kill, kill, kill”. Promoting The Curse of the Werewolf’s double invoice with The Shadow of the Cat, the business begs you to not miss the dual terrifying hits as a wolf howls ominously within the background. A delightfully charming throwback to a unique period of movie-making.

Nonetheless Gallery (3:30)

A compilation of on-set images, promotional postcards, shut up make-up pictures, glamour pictures and forged headshots. Even promotional door-hangers warning you to “Be careful!” will be discovered right here, alongside idea artwork for posters and commercials from all around the world. An effective way to get a way of the folks and the method that went into making the movie’s cultural footprint.

Closing Ideas

The Curse of the Werewolf got here at a time when Hammer was on the top of its inventive accomplishments, towering over the horror style as the brand new resident voice of the era. With Hammer’s most prolific director on the helm, a number of the most elaborate units they’d ever created and a screenplay by their most completed screenwriter, The Curse of the Werewolf was poised to succeed on the stage of The Curse of Frankenstein or Dracula.

What the studio hadn’t counted on was the British Board of Movie Classification’s dedication to creating an instance of Hammer and, specifically, this movie. The Curse of the Werewolf was unceremoniously sterilized, tarnishing director Terence Fisher’s most private work relating to the battle between good and evil and condemning it to misunderstanding.

Nonetheless, Terence Fisher crafted an intimate, fastidiously paced rumination on the character of man. Oliver Reed introduced the inner battle between the purity of excellent and the carnality of evil to soulful life, permitting his third act transformation to hold the sort of weight befitting Roy Ashton’s astounding make-up results. Lavishly visualized and stirringly carried out, The Curse of the Werewolf ranks with the very best Hammer’s canon has to supply.

Scream Manufacturing unit’s Collector’s Version restores the movie to its unique glory, presenting pristine image high quality and sound that little question would have made Terence Fisher proud. The dietary supplements are plentiful and span earlier releases, amassing anecdotes and perception from the movie’s surviving creatives in addition to revered movie historians alike. Whether or not a lifelong fan of the movie or able to expertise it for the primary time, there is no such thing as a higher method than with this launch.

The Curse of the Werewolf is probably not a sweeping instance of Hammer’s success however it’s a testomony to their enduring legacy. Using all the studio’s key gamers of their most profitable interval of inventive output, the movie is amongst their greatest made efforts. It’s due to the long run respect and admiration that the studio has cultivated in its followers that they discovered their method again to the movie within the early 90s upon its restoration.

Whereas there is no such thing as a Hammer Werewolf franchise to talk of, The Curse of the Werewolf holds simply as a lot weight and significance as these movies that do have a number of outings. The movie stands as proof that the artists behind the work had imaginative and prescient and goal, a inventive drive that reached past the exploitative personas of which they have been accused and assigned. Whereas the BBFC could have succeeded in making their instance of Hammer in 1961, greater than half a century later it’s the restored movie’s enduring legacy and affect that has made an instance of the type of censorship and short-sightedness such rankings boards so typically callously make use of.