NIGHT OF THE WEREWOLF

NIGHT OF THE WEREWOLF

A one man definition of the Spanish Horror film, Paul Naschy embodies the genre's thematic roots in classic folklore and its stylistic debt to classic Universal monster movies. Naschy's performances, screenplays, and directorial stints represent a merging point between the supernatural as subject matter and psychological expression of both the occult and the human mind. While his enthusiasm sometimes gets the better of him, Naschy is NEVER less than earnest in his attempt to craft characters/stories where the macabre and tragedy meet. Pulp and serious drama often overlap in his visions of dark fantasy. His psychologically mature characters and ability to mirror fantastic set-pieces with themes applicable to both the past and contemporary culture make these frightful epics as aesthetically invigorating as they are emotionally intensive. This ability to root occult absurdities in the midst of the everyday is expressed most completely in his werewolf films, where sympathetic Outsider figures mirror (and lend further power to) sensationalistic funeral settings and moving gothic atmosphere. Nowhere is this weird wedding between the supernatural and emotionally disturbed more beautifully expressed than in films featuring one of Spain's most noted (and certainly most tragic) anti-heroes: Waldemar Daninsky.

From the first appearance of the character in Frankenstein's Bloody Terror to his most recent incarnation Tomb of the Werewolf, Daninsky has been a fan favorite. It is also one of Naschy's trademark characters, summoning more pathos and believability than any of his other renditions of monsters and madmen. Allowing him to express an essential vulnerability not as apparent in his depictions of the Mummy or Mr. Hyde, the Daninsky character is at once both sympathetic and repellent, bringing to mind the performance of Lon Chaney in The Wolfman, which Naschy never hesitates to credit as a chief inspiration. While Naschy's portrayal as vampires are also quite sympathetic, only in the persona of the werewolf does he evoke a true sense of melancholy. As much a victim as those he stalks, Daninsky resembles the tragic hero of opera or Greek Tragedy, embodying within his eternal struggle between civility, animalistic savagery, and love the universal struggle of humankind between instinct and rationality. In the same vein, this character parallels the rustic simplicity -- and universal appeal -- of the folklore archetype, combining in its stylistic blend of supernaturalism and psychological struggle a monster that reinvents the enjoyable terrors of traditional horror with the more fetishistic, graphic viscera and sexuality of modern film.

Deimos/BCI gives fans of European horror and Paul Naschy a love letter with this release of El Retorno Del Hombre Lobo (Night of the Werewolf), a film that combines the primal nightmarish essence and animalistic violence of the earlier Daninsky films with a tragic love story similar to the funeral love poetry of the British Romantic period. It is also one hell of a hair-bristling and downright sexy creature feature, packing an incredible sense of shadow-haunted mood in its brief running time. Long sought after in an official release, this feature has suffered a history of cut footage and bad prints, appearing in truncated form as The Craving in the US before being relegated to the gray market -- which chopped up the picture and ruined the gorgeous color schemes. This marks the first time that the entire picture has been given a home video release complete and uncut. The resulting technical quality and supplementary material are nothing less than fantastic.

Night of the Werewolf reinterprets ancient themes, combining an authentic historical monster (Bathory) with occultism and everyone's favorite haunted lycanthrope. Polish noble Daninsky is sentenced to death alongside his mistress, Countess Bathory. Whereas Bathory curses the crowd, Daninski hopes for release, establishing his quietly noble character early on. In a cut to modern day, a grave-robber removes a silver cross-dagger impaled in Daninski's chest (influenced, it seems, by Frankenstein vs. the Wolfman, and repetitive of a scene in The Werewolf's Shadow)), resurrecting the doomed anti-hero. Mirroring several of Naschy's other werewolf films by its interplay between the doomed soul and a women whose love promises both doom and salvation, the film focuses on three American women researching the location of the Bathory crypt. While much of the plot echoes The Werewolf's Shadow, enough differences in theme, action, and mood prevail to make the picture more than just a reflection of a past hit. One major character difference centers around one of the beauties who is already in contact with Bathory, planning to sacrifice her friends to awaken the countess. Meeting with Daninski and accepting his hospitality, the girls entangle themselves in a richly baroque struggle for survival as vampires raise from their graves and Daninski ravages peasants until the expected if not unsatisfying ending.

Emphasizing the tragedy of man's savage nature and the dualistic nature of love, the surface story is successful as both thriller and allegory. Filmed with romantic and decadent imagery, bathed in haunting colors that lend emotional fever to the proceedings, Night of the Werewolf is an example of just how effective Molina can be as not only as an actor but, in addition, as a director and writer. Directing himself as Daninsky, Naschy crafts a fascinating hybrid of supernatural suggestion, grand guignol, and eroticism. The result is a modern fable, delighting in the very actions it warns against. Naschy's script depends on pacing, foreshadowing, and the exhilarating transcendence of atmosphere to convey terror and mystery. The direction is smooth and assured, lent emotional authenticity by the moody storm of shadows that externalize character's internal struggles. Man's natural instincts towards savagery, lust, and anger are matched against logic and mercy. The hot-blooded battles, captured in beatific slow motion, lend these ideas a mythic like resonance. In short, Naschy's nightmare of fur, fangs, and fury manages to give fans of gothic-hued horror the scares they want while appealing to the more poetic sensibilities of those who enjoy Daninsky's internal struggle against Fate. Meanwhile, Alejandro Ulloa's darkly gorgeous cinematography bathes the action in an unearthly glow.

Creating a small controversy amongst fans online when its release date was first announced and then subsequently pushed back again and again, BCI has shown itself true to their word in delivering the BEST edition Night of the Werewolf to ever find its way to home video. The set-backs were well worth the wait! The transfer is impeccable, eliminating just about any of the glitches that could diminish the viewing experience. Re-mastered from the original negative, this DVD includes the three minutes of missing dialogue that were trimmed for the US theatrical prints (The Craving), the English credit sequence, and, as a special treat, the Spanish credit sequence. Seductive fem fatal bloodsuckers, torture scenes, and bloody stakings are featured in all their gory glory, captured in their original 1.85:1 aspect ration, enhanced for anamorphic televisions. Colors are otherworldly, giving the picture the feel of an adult faerie tale. No discernible grain is apparent, and no splicing or blotching ruins the picture. Skin tones are believable, and images in general appear crystal clear and life-like. Audio is just as rich and professional, including two Audio Tracks: one is in Castilian with removable English sub-titles and the other is the English Dubbed track (also with subs). While both are technically proficient, the original language track offers the most authentic sound choice, and the subs are highly readable. For a more pulpy experience, the English dub hit's the spot, as its always fun to see actor's lips not match up to the words. Either way both tracks are clear without background noise.

Extras for Night of the Werewolf are enjoyable and informative, adding to your appreciation of the movie and the cultural times in which it was made. Further, these supplements create an aesthetic context within which to better appreciate the feature, including an inspiring and appropriately dramatic 'Introduction' by Paul Naschy, the fun US Theatrical Trailer, and the afore-mentioned Spanish Credit sequence. Deleted Scenes are next, and while nothing appears here that would have strengthened the picture, they are evocative to see, packing in more atmosphere and minor action points. An unexpected treat is delivered in the extensive Still and Photo Gallery, which includes tons of rare photos from the film itself, as well as posters, ads and lobby cards. These are taken from Muchas Gracias, Senior Lobo!, a new book of press books, cards, and posters available online. Most educational are the liner notes by Mirek Lipinski. Including full color photographs and rare poster art, this collectible booklet is packed with film trivia and biographical information, exploring Naschy's personal life and professional experiences, most particularly his creative output during this time and the character of Daninsky. We learn of the man's sympathy for Outsider figures, the events in his life that paralleled certain themes in his films, and his thoughts concerning genre (some quoted directly from his book Memoirs of a Wolfman, Midnight Marquee Press). Mirek does a fine job putting the film, its characters, and Naschy himself into a unified perspective. Also discussed are the lives of starlets Julia Saly and Azucena Hernandez. Considering the restored footage, the technical quality, and the scope of the extras, this disc isn't only a dark treasure for Naschy fans but a temptation for any monster movie fan!

Review by William P. Simmons


 
Released by BCI
Region 1 - NTSC
Not Rated
Extras :
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