With the Wolfman, Joe Johnston which finally appears in the schedules (the 12th February in the U.S.), it should revisit the classic werewolf film to maintain. Because even if this werewolf 2010 version seems to multiply digital plan a little sad, all looks highly sympathetic to the view of its cast (Benicio Del Toro, Hugh Weaving and Anthony Hopkins certainly), in the reconstitution and Baroque priori barbaric. The latest attempts to Van Helsing and Underworld were somewhat unsuccessful, we will avoid So imagine what would have given the film if the studio had left the reins to Mark Romanek , as originally planned (his work clipper is identified in one of the volumes of the DVD series "Work Director of "that also includes works by Spike Jonze and Michel Gondry).
In the movie werewolf, 1981 plays an interesting if not essential.
Joe Dante, then in early career, she has to realize Howling (The Howling) in his film werewolf tendencies, with an interesting approach: at the outset the viewer is launched full investigation, according to a journalist on the trail of a serial killer who has made it his prime target. journalist, very annoying (it also ends up by attacking a good, good) is continuing its investigation in depth, in a rather unhealthy sexual and showing that Joe Dante then took the matter seriously . We follow the headlong rush of heroin pleased to reviving the original countries of interest during the round, designed to distance the film from his first inclinations. Despite the aesthetics a little Hollywood Night tends to take the film (the characters are incredibly kitschy and Patrick McNee makes a ton), it remains fascinating for its mix of conventional survey mixed with fantastic elements that emerge gradually.
The film culminates in a finale with a gang of werewolves impressive, which Joe Dante wanted to give the look of the big bad wolf cartoony to appeal to a childlike terror quite satisfactory (the creatures are still very impressive). Transformations, very glaucous and plump, have failed to Rob Bottin, who would tackle one year after the visual effects of The Thing and some other films by Joe Dante in the years to follow (including Adventure Indoor and Gremlins). Bonus
tasty Howling, and the film that follows, they have some interesting turns fictitious information to the public, ending with a burst of horror that we keep in mind a time after leaving the movie ...
The film look absolutely combo Howling is The Werewolf of London , competitor film directed by John Landis and released also in 1981. The approach is different, more irreverent and offbeat through his characters, apparently escaped from a teen movie (Then John Hughes was law god thank you). The humorous tone that emerges may be initially surprising given the context of the film, but soon one begins to play and this addition does not take away the charm of fear as intended by the director of Blues Brothers . starting in the Scottish moors, the film follows the road trip of two American students on holiday, falling by chance into a nightmare. The rapid pace of the film (which lasts just 1:30) leaves little room for a very complete and psychology can go straight to the point, between a hospital stay, a conversion and a monstrous mess. Characters live as if tomorrow did not exist and we do regret not having lived through this period quite liberated (cf. the role of the nurse), while the madness of the film culminates in the open Piccadilly Circus in a grotesque and horrible conclusion, leaving the viewer between two stools.
The film took the bottle, but still finds a way to terrify us and go through the steps of the kind heard among legends maintained by the village, transformations and race against time to prevent the worst happening. Rick Baker took charge of the transformations of the beast, which was unfortunately not a great time appearing on screen. But by itself, the film is infinitely satisfactory, closely following the steps of folklore in force, demonstrations in support.
2 movies to see (again) to understand the importance of 1981 in terms of freedom of tone and production, and for his constant inventiveness in the use of special effects, far from being digital!
- The Howling (Howling), 1981, directed by Joe Dante
- An American Werewolf in London (The Werewolf of London), 1981, directed by John Landis
