An American Werewolf in London.

Review #1465: An American Werewolf in London.

Cast: 

David Naughton (David Kessler), Jenny Agutter (Nurse Alex Price), Griffin Dunne (Jack Goodman), John Woodvine (Dr J. S. Hirsch), Don McKillop (Inspector Villiers), Brian Glover (Chess Player), David Schofield (Dart Player), and Lila Kaye (Barmaid) Written and Directed by John Landis (#328 - Trading Places, #410 - Coming to America, #513 - Spies Like Us, #1114 - Animal House, and #1462 - The Blues Brothers)

Review: 

"What no one understands, ideas are a dime a dozen. An idea has no real value. It's all about the execution of the idea."

"The thing that I find so fulfilling about my job is I like the fact that you start with something that's just an idea in your head. You read the script and right away you visualize something and you see that thing that at one point was just an idea in your head looking real and alive. It's exciting and is a little bit like being Dr. Frankenstein. I want to scream "It's alive!"

John Landis was a tremendous showman director for his time, one that generally knew how to reach his audience with humor for a career that started with such modesty. He was inspired to be involved in films from a young age, citing The 7th Voyage of Sinbad (1958) as a key influence. He subsequently worked his way up in film production, starting as a mailboy before taking other parts such as stunt double and dialogue coach. After getting the chance to be an assistant director for Kelly's Heroes (1970), he found inspiration for what would become this film from a chance viewing of a gypsy ritual (while in Yugoslavia) being done in a burial in which they tried to make sure the body wouldn't rise from the grave). At the age of 21, he began production on his first directorial effort in Schlock, which was released two years later in 1973 with him in the title role alongside writer-director. It was his first work with a young makeup artist in Rick Baker. Baker was in his third ever assignment in film with makeup, having started his career with costume work on Octaman (1971). The highlight of the film was done from Baker, who became the first winner of an Academy Award for Best Makeup (several people had been given honorary awards for effects in the past before a formal category was created), and he would win six more in a career that has spanned over four decades.

The film languished for a decade because of the perception that it was either too scary to be comedy or too funny to be a horror film, with Landis stating that "People keep calling it a comedy, it's very funny I hope, but it is a horror film." It is a fairly morbid film at times, taking inspiration from the classic Universal horror films with clear interest in making a London film with atmosphere, complete with plenty of moon songs that set the film well (or whatever one feels about the choice of "Blue Moon" after a swift finale) that makes a well-earned classic for the night as one of the higher-achieving werewolf films. Landis stages a fine film well, and Baker makes it all worthwhile with the special effects utilized to depict the werewolf that proved to be a tremendous highlight for practical effects in a decade fitting for it, even if it took plenty of makeup and time to make it all come out right (the transformation scene took nearly a week to finish due to all the time spent on getting the makeup on and off), utilizing its real and unreal elements such as fake patch of skin and hair and robotics to make for an iconic moment for effects.

One watches the film to see the transformation sequence come out in the midst of a 97 minute film with care to build its creeping humor in its look upon the wolf of the night and the curse of the undead that come from it. In this case, our main trio is fair game to go with that horror challenge. Naughton (picked because of his four year work with Dr Pepper and their "Be a Pepper" ad campaign by Landis) does a fine job with being our person of interest, a take on the anguished man in despair over potentially being a wolf and a killer, approaching the material with care and fine timing without needing being overshadowed completely by effects or gags. Agutter (known for her television and film work in Britain and abroad) makes a sensible pairing to all the fuss, calm but attentive to the last. Dunne proves amusing while spending a good deal of time on screen in makeup, which makes him a charmer to see on screen with Naughton, such as with the scene in the theater confronting what to do about trying to end the curse (and the methods one could do it with, suggested by the several dead folk). On the whole, the film builds itself fine with playing with the horror genre with some creepy imagery and useful makeup and effects, and while it could've had a stronger climax, it ultimately does prove worth it in the long run, a casual classic worth a watch for those who appreciate craftsmanship done the natural way and those looking for a chill.

Overall, I give it 8 out of 10 stars.