The Howling.

Review #1744: The Howling.

Cast: 

Dee Wallace (Karen White), Patrick Macnee (Dr. George Waggner), Dennis Dugan (Chris Halloran), Christopher Stone (R. William "Bill" Neill), Belinda Balaski (Terri Fisher), Kevin McCarthy (Fred Francis), John Carradine (Erle Kenton), Slim Pickens (Sam Newfield), Elisabeth Brooks (Marsha Quist), Robert Picardo (Eddie Quist), Margie Impert (Donna), Noble Willingham (Charlie Barton), James Murtaugh (Jerry Warren), Jim McKrell (Lew Landers), Kenneth Tobey (Older Cop), and Dick Miller (Walter Paisley) Directed by Joe Dante (#007 - Looney Tunes: Back in Action, #096 - Gremlins, #097 - Small Soldiers, #1494 - Gremlins 2: The New Batch)

Review: 

"We have a fondness for this kind of thing. They're our fairy tales. The trick, then as now, is to try to find a way to connect this material to people who are younger and don't have a background in the classics."

As the saying goes, everyone is entitled to one good scare. And as it turns out, there was plenty of room to expand on the legend of the werewolf, mostly because there had been quite a lull in meaningful story-telling since the most prominent wolf film came with The Wolf Man (1941). Of course, there had been a handful of werewolf films in the subsequent four decades, such as 1957's I Was a Teenage Werewolf (released by American International Pictures, an inspiration for filmmakers like Dante), but the 1980s seemed like the best time to let loose with a beastly tale for the times. 1981 ended having three major horror features with werewolves as the subjects for general release: The Howling (released in March), Wolfen (released in July), and An American Werewolf in London (released in August); while An American Werewolf in London was the most successful of the group, this film has managed to endure just as much in its own perspective on the werewolf that has worthy effects and cast to work well four decades after its release. To start with, this film is an adaptation of the novel of the same name by Gary Brandner, released in 1977 (the first of three in the series). However, production of the film resulted in various scripts and directors going through to the point where it became a loose adaptation, complete with Jack Conrad being replaced by Joe Dante while Terence H. Winkless was replaced as script-writer for John Sayles (who had worked with Dante on Piranha in 1978); a cursory glance of the source material notes similarities within stark differences: the circumstances of the opening attack (and occupation) are altered, alongside the fact that the setting was a town as opposed to a patient resort (complete with a certain connection); lastly, while both end with two characters getting out of the town, each have different ways of inducing an open ending (in other words, the last line is both a gag and bait). Strangely enough, Brandner would co-write the screenplay to Howling II: Your Sister Is a Werewolf (1985), the first of seven sequels to this film, which had loose continuities with each other that resulted in two theatrical releases and the rest direct-to-video (perhaps it was irony that this happened at all, since Dante apparently stated in a Q&A that he disliked the book...with Brandner in the audience). 

A movie with character presences like McCarthy, Carradine, AND Pickens? Shoot, sign me up for 91 minutes. Sure, the in-joke references added by Dante to stuff like previous horror films (or naming characters after horror directors) or with certain wolf names is fine, but the curiosity will vary depending on one's taste, much in the same way one wonders just what a werewolf desires from humans: cattle or prey. Of course, it really is about what it means to deal with one's animalistic desires in the guise of a werewolf movie that actually plays like a slasher for a significant amount of time (as devised by Dante, who wanted to bring in the supernatural elements slowly); having a protagonist that isn't a werewolf probably helps in freshening up the expectations, too. Wallace does fine in balancing the long and winding road that comes with seeing weirdos at every turn, whether that means "self-help" folks or lingering nightmares of reality, which she sells better in its second half. Macnee pops in from time to time with his take on dignified quackery that seems pretty relevant now when it comes to the line of what is the best way to spend time with desires of animals. Dugan does okay with a cursory role (one that in an older movie perhaps would have had him as the lead focus), at least until the climax anyway; Balaski is also fine, but anyone that can handle terror with wolves like a champ is worthy in my book. Honestly, it is the supporting folks that seem to generate more curiosity (although Stone and his stoic timing, wolf or not, is close), which comes out best with the ever-casual Pickens or the spry nut in Carradine, while Brooks captivates well in presence (without saying much) and Picardo makes a worthy adversary in looming creepiness. 

Rob Bottin was responsible for the werewolf transformation scenes (which involved humanoid creatures rather than the desire of the studio to use "large wolves", as quoted by Dante). If you remember, there was also another werewolf film in 1981 with An American Werewolf in London, and the effects man for that was Rick Baker, who had decided to help with the effects for this film as a consultant and designer (since London had been stuck in pre-development for nearly a decade); when the other film actually did start to ramp into being made, Baker left to do that film (while giving advice to Bottin). The effect involved air bladders (as suggested by Dick Smith), animatronics, and spirit gum that had the actor in the chair (Picardo) being there for ten hours (of course, there were also parts that had to be done with animation and stop motion, although it isn't as lengthy is usage); Bottin also helped to supervise the way his effects would be shot and lit, for what its worth. While Baker would end up being the winner of the first Academy Award for Best Makeup (while Bottin didn't even get a nomination, which instead went to Stan Winston for Heartbeeps), one can certainly appreciate each effects man for what they managed to do with making their mark count in conviction when it comes to matching the mood of what is required from each transformation: one that looks painful and one that looks prideful. As a whole, I admire the way the film handles the werewolf legend with atmosphere that lends attention for terror and satirical fun that makes for a worthy curiosity as one of the most curious horror features to come out in the 1980s. No matter which werewolf film of 1981 was better than the other, the important part to remember is that each one served as a worthy crawl in horror that weaved their own perspective on the creature with distinct effects that only seem to look better and better after four decades with conviction all the way around for the season.

Overall, I give it 8 out of 10 stars.