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Curse of the Werewolf

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Hammer only made one foray into the murky world of werewolf-mania, but they hit one over the fence with this entry. Young Leon Corledo (Oliver Reed) changes into a gray-pelted werewolf when evil is exalted and the full moon shines bright. Terence Fisher provides his sure-fire talent as director. Although influenced by the classic Universal product, this wolf man stands on his own. Odd elements to a familiar story line appear in the beast's origin. The script is based on "The Werewolf of Paris," an obscure novel by Guy Endore. The setting is 18th century Spain. Take note, the full werewolf makeup only appears at the climax of the film. The monster is the unseen terror for much of the movie. Suspense builds slowly. Unlike Dracula's unholy delight in his blood lust, Leon suffers the torments of the damned. The curse of the beast. The full moon draws him, but pure love and careful nurturing keep him human. Cristina (Catherine Feller) is his love interest. When they confine Leon in jail, Cristina can't minister to him. All hell breaks loose as the werewolf explodes out of jail and tears off over the rooftops. This beast must be part monkey, the way he jumps from ledge to roof and back again. He climbs the church tower, and meets his fate as the bells toll loudly. This is one of the great moments in Hammer folklore. The usual Hammer traits of lush color photography and rich period detail are evident. A true delight for collectors classic horror flicks. ;-)

They were making sophisticated, quality films by 1961. This isn't one of them.

The late Oliver Reed was something of a hellraiser, and had a predilection for three "B's": Booze, Babes, and Brawls. Mr. Reed appeared on talk shows drunk, fell down a hill playing bagpipes in a drunken stupor during the filming of "Burnt Offerings", took a chainsaw and cut his house in half when his soon-to-be divorced first wife wanted "half the house", slugged reporters, and married a sixteen year old girl when he was in his mid 40s. Ollie was a born wild man, so he was a natural for the lead in the Hammer horror classic, "Curse of the Werewolf", early in his career. "Curse", made in 1961, was Reed's second or third film, and is Hammer's only werewolf film. Having scrapped plans for a film about the Spanish Inquisition, the ever-thrifty Hammer studio wasn't about to let their newly constructed Spanish sets go to waste. Changing the locale of Guy Endore's "Werewolf of Paris" to sunny Spain, they came up with a winner. Sensitive Leon Carrido, played by Mr. Reed, is the orphaned offspring of a crazed, animal-like beggar and a mute (and buxom-this is a Hammer film, remember!) servant girl. He has also inherited the curse of lycanthropy, and has shown disturbing signs of it in childhood, killing goats and his pet kitten in his nocturnal prowlings. When he reaches young manhood, he leaves his adoptive father and sets out to make his way in the world. But his affliction (abetted, no doubt, by his healthy male hormones) resurfaces, with alarming and tragic results. The love of a good girl (the boss' daughter) almost saves Leon from his fate, but "almost" doesn't count. What impressed me about this film (and still does) was how sad it was, and how fragile life is. There are so many innocent, tragic characters in the film. The beggar, taunted by an evil Marques, is caged like a wild animal which, in a way, he becomes; the mute servant girl, abused by the Marques and raped by the beggar, lives in the woods like an animal and dies giving birth to her son; Leon, never knowing his parents, is cursed by uncontrollable forces within himself, doomed to tragedy. And the poor animals! The savaged goats, Leon's kitten (tastefully referred to, not seen), and a shepherd's dog, mistakenly shot for the mysterious savage attacker of livestock. Animal lover that I am, I weep! The film has a more "intimate" feel than other Hammer outings, and is passionately photographed in striking color, directed by Hammer's famed Terence Fisher. It is acted with intensity and gusto by the virile Mr. Reed, as well as several Hammer regulars such as Clifford Evans, George Woodbridge and Michael Ripper, and there's a particularly loathsome portrayal of the decadent Marques by Anthony Dawson. Benjamin Frankel's beautiful, poignant and exciting score is noteworthy, with a frenzied climax that takes your breath away with its mad rhythms and vivid orchestrations. And, of course, there is Roy Ashton's memorable, demonic werewolf makeup. Reed's werewolf looks like a Gustav Dore illustration come to life, sensuously frightening and lusty, like a ferocious satyr on a rampage. Some people squawk that one doesn't see the werewolf until the climax of the film, but in my view, the suspense leading up to our finally seeing it is more than worth the wait. Oliver Reed was a nightclub bouncer before he turned to acting, and his surly good looks and powderkeg personality were put to good use in his films. Having played a brooding juvenile delinquent in "Beat Girl" prior to this film, this "angry young man" persona fit him like a glove. Ollie, I know you're raising a ruckus, wherever the hell you are!

CURSE of the WEREWOLF completes Hammer's "unholy trinity" of Universal horror classic remakes. HORROR of DRACULA and THE CURSE of FRANKENSTEIN have long been recognized for their excellence as preeminent monster-mash thrillers. Director Terence Fisher has truly outdone himself with a movie that well matches the Lon Chaney/Larry Talbot masterpiece. The recently-late Oliver Reed is excellent in his younger-than-yesterday role as LEON; the young, "pure of heart" man cursed to become wolf when the bane blooms in glare of the full moonlight. Hammer atmospherics and setting are characteristically predominant and superbly utilized. The story is predictable only in its "classic silver bullet conclusion". Otherwise, Fisher controls the great pacing with suspense and emphasis on character rather than the gore and often grotesque displays of violence that often typifies your basic "werewolf adventures" (THE HOWLING series; AMERICAN WEREWOLF IN LONDON; PARIS; ROME etc.). CURSE is a class act all the way. 007 fans can catch a glimpse of "Q" (Desmond Llewelyn)serving as "servant" to Anthony Dawson (Professor Dent of DR. NO) essaying the role of the nefarious Marques Siniestro. Though not as well known as the Peter Cushing/Christopher Lee outings, THE CURSE OF THE WEREWOLF is a great piece of monster-movie entertainment and a "blessing" from Hammer to fans of the genre...

It is rather ironic that "The Curse of the Werewolf" features not only one of the best werewolf makeup jobs in cinema history by Roy Ashton but the best actor ever to play a werewolf in the young Oliver Reed (even if the competition is basically Lon Chaney, Jr. and Michael J. Fox). The film is loosely adapted from Guy Endore's novel "The Werewolf of Paris" with the action moved to Spain because the studio had constructed Spanish-style sets for another movie. Reed plays Leon, born on Christmas day (as the result of the brutal rape of his mother in a sequence that was filmed but not included because of censorship) and at his christening there is a lightening storm and the baptismal water boils. Leon might be a sensitive young lad, but he is obviously cursed and eventually something is in the hills killing goat kids and kittens. When his adoptive father Don Alfredo Carido (Clifford Evans) learns the truth, he promises to show the boy enough love to let Leon's human soul win out over the animal soul within him. There are no further incidents as Leon grows up and falls in love with Christina (Catherine Feller). Unfortunately, while she loves him she is betrothed to some rich jerk. When Leon drowns his sorrows at a local brothel, the wolf returns as one of the ladies tries to comfort him. When the police arrest him for the three murders, the wolf returns one last time and is chased around the rooftops until the final fatal confrontation with Don Alfredo in the bell tower.

Given how fantastic the makeup job is on Leon as a werewolf, it is a shame that we do not really get to see it until the final chase sequence. For the actual murders all we get our shots of hairy hands, shadows on the wall, and a lot of growling. The final chase does allow us to see the werewolf at last, but the creature runs on the roof where the mob cannot get it, climbs down to the ground and lets the mob get close, then climbs back up again, then starts back down, then goes up to the bell tower, etc. When someone finally throws a torch up on the roof where the werewolf is perched, it lights a convenient bundle of hay on fire, which is then pitched back down at the mob. However, the ending does have a certain amount of flair. Reed's performance shows his promise as an actor, and he is even more tortured in his performance than Chaney, Jr's Larry Talbot in Universal's "The Wolf Man." "The Curse of the Werewolf" is an above average Hammer film, with a solid script from Anthony Hinds (writing as "John Elder") that gives director Terrence Fisher a story right up his alley.

Hammer Film Co. has style. Before the creators show you the monster, they show you the story behind the monster. This is solid film-making in the tradition of Jacques Tourneur. Oliver Reed is nothing short of outstanding.

I remember seeing this film when first released in America, in a double-bill with Brides of Dracula (another great film!). When I first found it on video ten years ago, I was overwhelmed at the complex layers of the screenplay. This is by far one of Hammer's greatest films. Oliver Reed plays even a more sympathetic part than Lon Chaney's Larry Talbot. Terrence Fisher's directing is impecable, as usual, and the color, set designs, and just the over-all atmosphere is fantastic! The werewolf makeup is just plain marvelous and the musical score puntuates with just the right kind of chilly bravado. This is definately a must see for all horror aficiandos!

Maybe it was a good thing that our old friends in the U.K. just did one werewolf picture. Remember the second Mummy picture Hammer did?(Possibly Hammer's worst right up there with Evil of Frankenstein!)This werewolf flick kicks!It has all the ingredients of a superior Hammer production.Werewolf make-up is better than Chaney's(certainly superior to Hull's, but that is another story altogether!).Finale is exciting that is worthy of other great Hammer film endings where the monster meets his demise.Oliver Reed gives an exceptional performance(I will miss Mr. Reed-May He Rest in Peace.)

This 1960 effort by famed Hammer Productions of London, England is one of their finest efforts, and the greatest werewolf film ever made. Even by today's standards, the make-up for the werewolf is eye-opening and well worth the wait to see. The movie is filled with underlying themes and for those who look, it may be filled with a number of messages that are not readily apparent from the otherwise simple narrative. Color photography, normally a strong suit in Hammer Films anyway, is among their very best. The performance by the young Oliver Reed as the werewolf is filled with energy and passion. A highlight of Director Terence Fisher's accomplished career. If you only can have one werewolf film, this is the one.

Wow, Terrance Fisher you've done it again! This movie is great and the performance from Oliver Reed may have been his best. Oliver hasn't been in many horror films but this is one of the greatest.It has everything, the movie is in color, produced by Universal and Hammer.Movie's don't have to be violent to be good but this movie does have some bloody scenes.This is a must have for your collection, I already have it!