This week I revisited one of my favorite Hammer films, Terence Fisher’s The Curse of the Werewolf (1961), for the Movie Morlocks. Some brief excerpts from my post:
“The Curse of the Werewolf begins with a hungry beggar (Richard Wordsworth) who arrives in a small 18th Century Spanish town while church bells ring out in celebration of a wedding. He immediately visits a local bar where the townspeople have gathered and are drinking wine in abundance from crude cups. When the beggar asks them to share their wine and food, he’s refused and told to visit the wedding party taking place at the home of a powerful nobleman appropriately named Marques Siniestro (Anthony Dawson). The local town’s people know just how sinister the nobleman truly is and suspect the beggar will suffer his wrath but they selfishly send him there anyway. Their heartlessness and lack of compassion for the poor man will eventually have a devastating effect on the whole community. Although this is a crimson colored film in more ways than one, The Curse of the Werewolf smartly stresses that the true horrors of the world are man-made even when they have supernatural connotations.
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This unique Gothic horror from Hammer is part love story, part social allegory and part monster movie. John Elder aka Anthony Hinds’s script was loosely based on a book by Guy Endor (The Werewolf of Paris) and it takes a grim but very modern view of life by stressing that the werewolf is a product of his environment and circumstance instead of just a supernatural beast. The impressive sets, which were borrowed from previous Hammer productions, still look fresh and are accentuated by Terrence Fisher’s direction. This is somewhat of a staid film for Fisher and lacks the abundant style that the director brought to The Brides of Dracula (1961) made the same year. Instead, the film becomes a creative showcase for Oliver Reed’s performance and he’s spectacular as well as deeply moving as the cursed werewolf. The film also provides a nice backdrop for some of the studio’s best make-up effects designed by Roy Ashton. Reed’s transformation from a handsome young man (he was just 21-years-old at the time) into a ferocious wolf is particularly startling but it’s matched by the makeup used to age and disfigure the beggar and the Marquis. The two men are not typical monsters but as their souls seemingly wither and die; their decaying faces illustrate the ravages of time and the darkness that has suffocated their hearts.”
Continue reading “Wine & Wolves: The Curse of the Werewolf (1961)” at Turner Classic Movies official blog: The Movie Morlocks