The Wolfman

Seen at: Carmike 10, three weeks ago

The werewolf, as I mentioned, is classical morality stripped of classical structure. As a postmodern man, he is beastlike, but he does not want to be, at least in the post-World War II version of lycanthropy. Despite his intentions to be good, the werewolf is out of control.

The story here shows this principle in operation over two generations of werewolves in the same family. The father is the advanced state, having long embraced his nature as a remorseless killer, whereas the son is only starting out on the werewolf path, and struggles to remain a human being. But in the father we see where being a werewolf inevitably leads---towards destruction and death.

It has been a while seen since I've seen either the Lon Chaney Jr. version, so for I can't compare this directly to the original The Wolf Man (three-world title). The Kress Lounge screened it last week, but unfortunately I couldn't make it. In any case, this new version certainly pays homage to the old Universal style, at least in the sets and art direction.

The essential motif here is pleasant--late-Victorian English countryside Gothic, direct in the line from the recent Bronte/Austen movies. It draws upon audience memory of American Werewolf in London (1981) and The Elephant Man (1980), as well as a bit of Bunuel. Emily Blunt's presence certainly helped, and the love story mostly worked. There were a few gags (like givingDel Toro's character a reason not to have to fake an English accent). It could have worked, but for the fact that unfortunately, in a self-descriptive postmodern way, it fell victim to lack of structure, substituting excessive violence for actual story development in Act Three.

Certainly for Anthony Hopkins inclusionists, this one is a must, even if his performance is largely wasted in the sloppiness of the climax. It brings back good memories at least.