The Howling (1980)

Directed by Joe Dante

Produced by Daniel H. Blatt, Jack Conrad, Michael Finnell & Steven Lane

Starring Dee Wallace Stone, Patrick Macnee, Dennis Dugan, Christopher Stone, Belinda Balaski, Kevin McCarthy, John Carradine, Slim Pickens, Elisabeth Brooks, Robert Picardo, Kenneth Tobey, Don McLeod, Dick Miller

There were two great werewolf films produced in the eighties, this one and the (ever so) marginally superior "An American Werewolf In London" (1981). As much as I love Landis' film, it is Joe Dante's big-screen adaptation of Gary Brandner's 1977 novel that I hold dearest to my heart. "Why?" I hear you all ask. Well, back in 1980, as a young lad of twelve, it was one of the very first horror films I saw on the big screen, oddly enough double-billed with Luigi Cozzi's "Star Crash" (1979). Sure, there had been other horror films before it ("Tourist Trap", John Frankenheimer's "Prophecy" and a number of other drive-in classics), but it was the first horror film I saw in a cinema, it sparked an interest in horror fiction, and had an indelible lasting effect. So, what does "The Howling" have now, over twenty years later, apart from a cast that have largely passed on? Hmmm, how does Joe Dante, John Sayles, Dee Wallace-Stone, (the late) Elisabeth Brooks, Rob Bottin, (the late) John Carradine, (the late) Slim Pickens, Pino Donnagio, and a legacy of vastly inferior sequels sound? Strangely familiar…

TV newscaster Karen White (Wallace) is shaken and disturbed by her encounter with Eddie Quist (Picardo), a brutal serial killer who had previously agreed only to confess to her. At the suggestion of Dr. Karl Waggener (Macnee), a noted new-age psychologist, she and her husband Bill Neill (Stone) head off to a secluded coastal therapy retreat known simply as "The Colony". Once there, the locals seem only too keen for her to fit in and feel at home. While creepy old Erle Kenton (Carradine) tends to spook the Neill's, sheriff Sam Newfield (Pickens) does his best to muster up some small-town hospitality, while the sultry Marsha Quist (Brooks) takes a more-than-neighbourly interest in Karen's husband. Meanwhile, Karen's city-bound co-workers Chris (Dugan), and girlfriend Terry Fisher (Balaski) have unearthed some rather alarming facts about Eddie and his origins, realising a little too late that she may be in mortal danger. When Bill is attacked by a large wolf-like animal in the woods surround the Colony, fear ignites like wild-fire. The Colony harbours a dark, dark secret, and one that soon leaves Karen fearing for her very life.

You know what? Dante's film is just as much fun now, as it was when I was a dopey twelve year old who was just discovering the joys of big-screen horror, and better still it has scarcely dated outside of the age (and mortality) of its leading players. As much as I loved Brandner's novel (what adolescent wouldn't have enjoyed a horror novel sprinkled with a liberal dose of sex? And our parents thought they were 'just' horror novels…hehehe), it will always be Dante's film version that remains burned into my subconscious. On the back of "Hollywood Boulevard" (1976) and "Piranha" (1978) (also scripted by John Sayles), Joe Dante must have seemed the perfect man to fill the director's chair for producers Michael Finnel & Jack Conrad and production house Avco Embassy. John Sayles & Terence Winkless' script was both moderately faithful to Brandner's novel and a tongue-in-cheek nod to B-movie formula of old. Plus, there's just enough input from Dante (clips from Chaney's "The Wolf Man", characters named after directors of past werewolf films etc) to remind the viewer that they are in brand new territory and that they should leave preconceived notions of what to expect at the door.

Although the cast perform well within the means of Sayles' script and Dante's direction, I am oddly compelled to pin-point the late Elisabeth Brooks (who was the victim of cancer in 1997) as Marsha Quist as the diamond in the rough. For anyone who has ever read Brandner's novel, she conjured the perfect embodiment of the character as written. However, there are many quirky cameos by seasoned veterans that should not be discounted in her light, most notably Pickens, Carradine, McCarthy and Tobey. Nor lest I forget that lovable rogue Dick Miller as the bookshop owner, and brief cameos by Dante's old boss Roger Corman and screenwriter Sayles (as the morgue attendant). John Hora's cinematography captures the backwoods menace of the Colony perfectly, and Dante & Mark Goldblatt display their considerable editing skills in many of the key terror sequences. But then there's Pino Donaggio's gorgeous score, which adds no end of fearful atmosphere and quiet pathos to the film's amazing visuals (although I must be honest and say that the end credits theme wouldn't have been out of place in Marvin Hamlisch's "The Spy Who Loved Me" score). And who could ever forget Rob Bottin's ground-breaking make-up effects? These were the first time a man had transformed into a wolf on-screen and as such mark a seminal moment in horror film history. As much as I hate to say, I prefer Bottin's malevolent creations of pure evil over Baker's monster anyday. Oh yeah, it must irk Trekkies greatly that Robert Picardo was a werewolf first before he was ever a holographic ship's doctor on their favourite TV sci-fi soapy! But hey, WE had him first, and best!

Well, I can safely say throw out every existing copy of "The Howling" you have on tape, as once you see what MGM have done with the DVD edition you just WON'T be able to go back the VHS version at all! MGM's new disc actually manages to improve on the original theatrical print, so this is really the best you will ever see Dante's film (as the same master will undoubtedly be used for next year's Special Edition). Letterboxed at an aspect ratio of 1.85 and anamorphically enhanced, the film now exhibits a level of clarity and detail I haven't seen present in any other version. Colours are rich and vibrant, many scenes once dark and murky are now bright and crystal clear, and there's details apparent now that were barely visible in prior editions. You want a point of reference? Look for the scene where T.C. is spying on the Neill's cabin from the woods in the early passages of the film. In previous video versions his face was barely visible amongst the shadows that hid him, whereas now he's perfectly visible yet still clouded by shadows. It's this level of crispness and clarity that stands MGM's new transfer miles ahead of any previous incarnation. Picture-wise this is the absolute best I have ever seen "The Howling" looking. The only drawback? Audio is plain old monaural sound, but clean and perfectly clear. As the theatrical release was similarly a mono soundtrack this minor complaint is little more than a futile clutching at straws. It's an amazing looking disc that's really going to cop a caning in weeks to come, I can tell you! Strewth! I'm blown away…

No Extra features to really speak of sorry (they're obviously being saved for the Special Edition next year) but the theatrical trailer is present and it is similarly letterboxed and anamorphically enhanced per the main feature. Undoubtedly, many of you out there will be holding off until that Special Edition DVD that Joe Dante announced for 2002, but if there's a few of you like me (ie: extremely impatient) then I can't recommend you strongly enough to rush out and buy the bare-bones edition of "The Howling" right now! Honestly, what's been done with the print is pure bliss to behold and will effortlessly scotch the memories of all those woeful sequels that followed on its heels. Me? I harbour a secret desire to see some-one worthy of the project go back and license Brandner's 1985 novel "The Howling: Echoes", stick close to the book, and give us a decent sequel. Oh, and I'll be buying that Special Edition disc as well…

International specifications: NTSC format disc; Language options in English mono only; Subtitle options in French & Spanish

*Announced as a Special Edition disc for R1 in 2002.

Review by Mike Thomason

© 2001, Icon In Black Media