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When “The Howling” appeared in theaters in 1981, it heralded a mini-revival of the werewolf movie that took advantage of advances in special effects; two films followed later that year: “Wolfen” and John Landis’s beloved “An American Werewolf in London.” Although “The Howling” doesn’t quite match the artistry and continual popularity of Landis’s film, it nonetheless has ancient wonderfully and is tranquil one of the most exquisite anxiety films of its decade. It’s scary without getting too gory for the average viewer, has respectable special effects that don’t overwhelm the sage, features a fun cast of familiar faces, and has a quirky sense of humor and loads of movie in-jokes for awe movie fans.
MGM first released “The Howling” in a no-frills DVD that let the movie down: no extras, a cheap and scratchy transfer, and a very expressionless mono soundtrack. Thankfully, they realized the popularity of the film and are now giving us a nice edition with revamped sound (5.1 Surround), a racy describe, and a gigantic bowl beefy o’ extras.
John Sayles’s script (co-written with Terence H. Winkless) unapologetically drops the classic werewolf fable into the modern-day — in this case, the world of television news and the fad of self-help psychology. News anchor Karen White (Dee Wallace-Stone), while on a special assignment to lure out a serial killer (Robert Picardo from “Star Trek: Voyager”) in the city, is attacked by something bestial. On the advice of psychiatrist Dr. Waggner (Patrick Macnee), Karen and her husband (Christopher Stone) head to Waggner’s clinical retreat in the woods. However, there’s something very disturbing about the other patients in the colony, and those peculiar wolf howls at night won’t discontinuance…
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The werewolf transformations supervised by Retract Bottin serene have an fabulous achieve on viewers. Using air bladders, make-up, rubber, and pneumatics, Bottin was able to acquire a real-time transformation of a human into a nine-foot two-legged wolf. We peer limbs snap, snouts grow, claws sprout, the whole deal, and it’s damned astounding. (Amazingly, only six months later Rick Baker would do this movie one better with the transformation in “An American Werewolf in London.”)
The cast goes a long map to making the film work away from the effects. Dee Wallace provides the serious angle to the film, and is convincingly fragile. The rest of the actors add a astonishing loose humor: Slim Pickens, John Carradine, Belinda Balaski, and director Joe Dante’s popular actor, Dick Miller. The exquisite Elisabeth Brooks steals every scene she’s in as a femme fatale who burns with sensuality, mystery, and one curious leather fetishist outfit. Director Joe Dante, who would go on to vow such wacky films as “Gremlins” and “Looney Tunes: Support in Action,” puts his nutty sense of humor all over the film and packs it with in-jokes. The names of many of the characters are directors of werewolf movies, werewolf films and cartoons pop up on the televisions, and “wolf” items are scattered all over the region (Wolf Chili, a book by Thomas Wolfe, a reference to Wolfman Jack, a copy of the book “Howl”…and so on) .
The extras, most of which are on the flip side of the disc, are pleasant. There’s a feature-length commentary by Joe Dante, Dee Wallace, Christopher Stone, and Robert Picardo. Dante has plenty to say and is a very interesting commentator, and this is a generally delectable audio track. “Unleashing the Beast,” a fifty-minute documentary (divided into separate parts, but you can play them all together) goes into tremendous depth on the making of the film. It includes fresh interviews with Joe Dante, producer Mike Finnel, cinematographer John Hora, writer John Sayles, and actors Dee Wallace-Stone, Robert Picardo, Dick Miller, and Belinda Balaski. Conspicuously missing is effects wizard Assume Bottin, but you can glance him on “Making a Monster Movie,” an eight-minute featurette that was made in 1981. It also contains vintage interviews with Joe Dante and Patrick Macnee. The extras also include two trailers, production photos, and deleted scenes and outtakes (some of which are very laughable) . But the really major extras for most people will be the novel narrate quality and the remixed 5.1 sound. If you’re a purist, you can tranquil listen to the new mono mix — it’s here too.
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“The Howling” makes most early 80s fright films, with brute slashers cutting down lifeless teenagers at summer camps and slumber parties, observe resplendent unpleasant. This is fun, droll, scary, radiant — and the effects will aloof perform your jaw plunge or maybe your fangs grow.
THE HOWLING is a rare recent cult-movie, far from the reluctant werewolf pattern. The conception of werewolves instead of a single one hadn’t been well developed before, as some memoir variations. It has the legendary transformation scene with Retract Bottin’s effects, stronger with Pino Donaggio’s regain (with no CD releasing yet) . Rick Baker (Bottin’s brother) was consultant and created later the Oscar winner effects of AN AMERICAN WEREWOLF IN LONDON, other historical movie.
Both movies are linked. Contemporaries, they represented a unusual era. There’s no point discussing which one’s the better. “AWIL” is more new in a intention, having non-sense humor, bloody scenes and wonderful effects. THE HOWLING, earlier, has a classical movie profile, surprising region and ending. Its characters were named after classical werewolf and apprehension movies directors, like George Waggner, Sam Newfield, R. William Neill, Erle Kenton, Lew Landers, Terry Fischer, Charlie Barton, Jerry Warren and Jack Molina. There are lots of ironies, like THE WOLF MAN quotations during the film and after credits, and the wolf cartoon in a tense scene. John Carradine, Roger Corman, John Sayles and Forrest J. Ackerman appear, giving additional charm. It’s the first time more complex werewolves characters emerge, like Eddie (Robert Picardo, the scariest werewolf on movie history) and Marsha (Elisabeth Brooks, 1951-1997) . Joe Dante made this classic with $1,6 million and veteran his acquire garage for the rated movies scene.
Lots of ideas were borrowed later (”the gift” in WOLF) . There were sequels non-related to the fresh, without the “THE” of the title. Most of them have nothing to do with each other. It’s depressing to someone expecting a loyal sequel to search for HOWLING II.
Comparing to THE HOWLING, Brandner’s book is different in many aspects, but both are modern. If you liked one, try the other, but don’t accumulate anxious finding total equivalence, some points of one aren’t in the other and vice-versa.
Unfortunately, the movie had no lucky on TV. Its first release on VHS had a blueish image. Later, a brighter version came, yellowish, but allowing explicit recognize of the effects and a better cover fitting. I can’t vow which one has the fresh color or if none of them has. The MGM VHS release (August, 2000), after years of “out of print”, is a very reliable presentation - no cuts, Hi-Fi Stereo. The only possible complaints are a few optical ghosts during the title presentation and a dazzling but not unique shroud. The light gets closer to the brighter version, with impressive color balancing. But I don’t know if it’s closer to the fresh.
Lucky are those who watched it in the theater, with unusual color and no lateral reductions. We’ll have to hope for a DVD version in a letterbox format, with tone color and light fidelity to the cinema’s. A special edition, maybe director’s, would be wonderful: interviews, soundtrack, theatrical trailler/teasers and more. Otherwise, proper awe movies enthusiasts are not having what they deserve.
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