In 1935,
during the slump period that the horror film went through, Universal gamely
tried to keep creating new titles to attract the public. Soon after the
excellent sequel Bride of Frankenstein,
the studio came up with the first appearance of a brand new monster to add to
their Hall of Fame: the Wolf Man. Werewolf
of London was in fact the first time a werewolf had been seen in a
mainstream horror film. It would not prove successful enough to generate a
sequel rush - six years elapsed before Lon Chaney kick-started their franchise
properly with The Wolf Man in 1941-
and this 1935 version is often overlooked. However, it’s well made enough to
introduce this iconic creature, albeit a little too reminiscent of Jekyll and Hyde’s urban aspect rather
than natural primitivism.
Henry Hull
plays Dr Wilfred Glendon (his first name already hinting at a lupine
connection?), a gruff, driven British botanist of means who travels to Tibet in
search of the fabled ‘mariphasda Lupino lumino’, the Wolf Flower, that
allegedly only blooms in moonlight. He risks everything to secure the exotic plant,
including his future when he is attacked by an obscured humanoid figure just as
he takes a cutting from it. The creature scratches his hand and arm severely. Once
back in his London laboratory, Glendon tries in vain to reproduce an artificial
moon-light ray trained on the transplanted mariphasa. Meanwhile, he is visited
by Dr Yogami, Warner Oland, who claims he met Glendon in Tibet (as his
assailant it turns out) and suspects the botanist to be afflicted with the werewolf
curse of lycanthropia – which by sheer coincidence can be cured for a few hours
at a time by the pollen thorn of the plant. Glendon refuses to reveal his curse
which will set the seal on his fate. Yogami warns him, as he knows only too
well, that “The werewolf instinctively
seeks to kill the thing it loves best” In private, Glendon feels the
transformation begin to take hirsute effect upon his arm in a series of
dissolve shots but manages to quell it with plant extract.
Hull plays
Glendon with an effectively frosty, brooding quality for a gradually tormented
soul and a huskiness to his English tone reminiscent of Colin Clive (though he
was actually American). Oland, as Dr Yogami, was continuing in an asiatic vein that
was already achieving him fame as the wily Chinese detective in the ongoing Charlie Chan film series (1931-37).
Oland was in fact Swedish-American, born Johan Verner Olund into a Swedish family
that emigrated to the U.S. when he was thirteen. He claimed some unproven Mongolian
ancestry to justify his slightly oriental appearance. Though the term ‘inscrutable’
is a somewhat racist stereotype, it’s an apt description for Oland’s playing of
Yogami with immensely controlled emotion
and guarded expertise , though erring at times into an uncertain line
delivery.
Adding a
love triangle to the increasingly hairy tension is Valerie Hobson as Glendon’s
wife Lisa, who’d played Baroness Frankenstein that same year for James Whale in
Bride of Frankenstein and would go on
to the equal classics back home in England of Lean’s Great Expectations and Edith D’Ascoyne in Kind Hearts and Coronets. (She would later be embroiled by association
with a notorious society sex scandal in real life as wife of the disgraced
government minister John Profumo). Lisa gamely fends off the old-flame of her
childhood sweetheart Paul (Lester Matthews), who at first seems a bit of a
moustached cad pointedly remarking that she has lost the sunny temperament she
had when formerly with him, until he’s revealed as an action man with prior knowledge
of a werewolf murderer in the Yucatan.
Glendon’s
first full metamorphosis into a werewolf is artfully staged, melding dissolve
photography with cleverly-edited shot composition in three stages as he passes behind
two pillars, each one allowing a cut to a more detailed change as Hull acquires
a widow’s peak of hair, pointed ears and protruding sharp fangs to his lower
front teeth. Physically, Glendon’s werewolf is reminiscent of Jekyll’s Hyde
alter-ego more than a primal beast as instead of fully embracing the lupine
predatory animal, his inner creature clothes the outer self in a full gentleman’s
suit, cap and overcoat each time he heads out to kill. Coupled with the London
setting, Robert Harris’s script owed a fair amount to Robert Louis Stephenson’s
novella.
Universal’s renowned
make-up supremo Jack Pierce had designed a more elaborate look for Hull, one
identical to the design used on Lon Chaney Jr in the later The Wolf Man, but Hull’s great-nephew Cortlandt claimed that the
actor wanted a more pared-down aspect on the grounds that other characters
would then be able to recognise him. Whether or not this was valid or a performer’s
vanity, it created a bad working atmosphere between Hull and Pierce and a look
that still took four hours to apply each day.
Lighter
notes are to be played along the way while Glendon succumbs to his terrifying
disorder. There is the relentless scepticism of Lawrence Grant’s Sir Thomas Forsythe
of Scotland Yard who refuses to believe any evidence no matter what is
presented to him. Paul has eye-witness proof of Glendon being the killer when
he is attacked by him after he tries to put the moves on her in the woods. Yogami
predicts city-wide werewolf contagion unless they confiscate Glendon’s
mariphasa antidote as a preventative for the people. It takes an overwhelming amount to shake the
inspector’s disbelief- and Paul is his nephew!
The more
deliberate fun is the double-act of Mrs Moncaster and Mrs Whack, a couple of exuberant
cockney landladies, irony-free and with surreally unself-conscious survivalism.
Mrs Whack is proud of her jailbird son’s model prisoner status: “I always knew he’d amount to somebody”
Moncaster avers. They are injected into
the plot as comic relief as if inspired by James Whale’s established trademark of
dark comedy to alleviate the horror. Zeffie Tilbury and Ethel Griffies respectively
are an unforgettable duo whose bosom friendship bizarrely endures despite ‘just
business’ cut-throat competition with each other often resulting in un-ladylike
violence. When Glendon comes by looking for private lodgings in the throes of
his rampage, Mrs Moncaster knocks “my
oldest friend” out with a sock to the jaw so she can take his custom.
Eventually,
Forsythe agrees to head to Glendon Manor with Yogami and Paul. Lisa appeals to
Glendon’s latent humanity but he is by now too loopy with the lupine and
Forsythe is forced to fatally shoot him. In a touching end, Glendon apologises
to his wife for neglecting her happiness in favour of his scientific mania and
praises her: “Thank you for the bullet.
It was the only way”. Forsythe softens his British reserve enough to offer
framing Glendon’s death in his report as occurring whilst trying to protect his
wife.
Werewolf of London doesn’t give us the full moon of werewolf
legendry. We must wait till 1941 for Universal to embrace that with The Wolf Man yet its creation of a new franchise
mythology is nonetheless welcome in a period when the horror film was losing
potency…
No comments:
Post a Comment