The Wolf Man (1941)

Starring Lon Chaney Jr., Claude Rains, Evelyn Ankers, Bela Lugosi
Directed by George Waggner
Horror
No Rating

*Spoilers Ahead*

The movie opens with the introduction of Sir John Talbot (Claude Rains) and a reunion with his son Larry Talbot (Lon Chaney Jr.) Already my willing suspension of disbelief is stressed. Aside from the fact that they don’t look anything alike, Rains is a head shorter than Chaney, but what Rains my lack in stature he makes up for in his commanding delivery of his dialogue making even the most inconsequential lines seem important. His veteran experience shines through as he acts circles around everyone and doesn’t show much in the way of mercy towards a newcomer like Chaney. Conversely, Chaney’s towering physique lacks the sophistication of his father’s character, sounding more akin to an everyman type rather than the wealthy son and heir. Its not explained what Chaney’s character does for a living, but I got a sense he was something of a nomad, acquiring skills as he went along, likely earning keep through odd jobs. The way he described knowing how to assemble the telescope reminded me of Steve McQueen from “The Great Escape” talking about how he used to be a chemistry student, its just something you don’t expect from someone who is very clearly an actor. The difference in Rains' British accent and Chaney’s American accent also shows through here.

The previously mentioned telescope is also an interesting bit. When Larry first looks through it he sees the street as if he were on the ground level, while in the next shot his view matches that of being on a higher floor. He catches a glimpse of Gwen (Evelyn Ankers) across the street and dashes off to hit on her, showing that he’s already a wolf (Zing!). Quite a brave feat for someone who really doesn’t have the charisma to be a romantic lead. This eventually leads to a late night date at the fortuneteller where a gypsy woman tells them they are in great danger. At this the music goes over the top and seems a bit distracting from the actual drama. Larry is bitten and Gwen’s friend is killed, leading to an unintentionally hilarious scene involving the New York accented police chief repeatedly telling the squeamish reporter to “Take a note!”

The abysmal forest is quite effective at creating mood with thick fog suspended in the air. Chaney does an excellent job at showing guilt, anxiety and torment in his facial expressions as he fears he is becoming a werewolf and could be responsible for the string of attacks, while all the other claim it’s all in his head. He begins to make some impassioned speech about how he can understand tubes and wires, which would have made for an interesting bit of character development with a science vs supernatural, explained vs the unexplained theme, but it isn’t brought to fruition and is ruined slightly when Larry asks his father to explain his pentagram shaped scar he recieved from the werewolf, to which his father replies, “Any animal could have made that mark.” Yes, any animal could have made a perfectly symmetrical star shape.

Theres a brief scene in which Larry tells Gwen that he has to leave or risk hurting anyone else and she says she wants to go with him, which I don’t buy since they haven’t know each other for very long and she already has a fiancé who isn't a jerk and hasn’t been conveniently disposed by the werewolf, contrary to movie law. The climax comes into play while Talbot Sr. is out in the woods and showing a face filled with fright as he beats the werewolf to death with Larry’s silver tipped cane. Claude Rain’s acting chops sell the scene as he discovers that the Wolf Man is his son. Like “The Fly” there really isn't a connection between man and monster to the audience because we never see the transformation and can’t really make any real association. At least this film ends on a higher note than “Frankenstein”, closing with some action as well as emotional reaction.

While there is some great acting and spectacular atmosphere, the film can't seem to decide if it wants to be a straight up creature feature or a psychology horror story about duality in the vein of "Jekyll and Hyde", which really divides the film and hinders a number of quality ideas from developing to their full potential.

Final Score:
Three out of Five. Alright.

Frankenstein (1931)

Starring Colin Clive, Mae Clarke, Boris Karloff

Directed by James Whale

Horror

*Spoilers Ahead*

The film opens with the famed “warning scene” were a man steps out from behind a curtain onto a stage to warn the audience of how scary the film is. The film proper opens with a rather surreal credit sequence with a series odd images behind the credits including of circular rows of swirling eyeballs and a vague spectral head. The actual story begins in a graveyard at twilight. Already the atmosphere is gloomy with the painted sky, were the clouds are as black as oil and seem to blot out the sun. The macabre setting is only strengthened as we see Doctor Henry Frankenstein (Colin Clive) on his mad quest for cadavers.

The slow buildup of Doctor Frankenstein and his back story, while eerie, is nothing compared to the first appearance of the monster his has created (Boris Karloff). Walking through the doorway backwards with a slow revealing turn and gradual close up on his ghastly thin face and ghoulish black eyes, his massive figuring looming in the doorway reminiscent of Nosferatu. Karloff’s pantimine performance easily steals the show and makes him the most enduring character with his slow demeanor and innocent nature against the violent adversities around him. His character, unable to speak produces various hics and moans that will likely arouse laughter in an unappreciative audience.

Unfortunately, the ending is by far the weakest portion of the film. In another infamous scene, the monster accidentally kills a little girl. While he flees in terror of what he has done, a mob of angry villagers decides that the monster must be destroyed. The climax occurs on the roof of a windmill were Frankenstein and the monster have a clumsy fight in the dark making it difficult to tell what is happening. Frankenstein is through from the roof and presumably dies (?), while the monster supposedly perishes in the flaming wreck. I have to wonder who justice is done to by this resolution. Was Frankenstein punished for meddling in the unnatural? Was the creature destroyed because of its origins despite his innocence? It’s a rather clumsy way to end development that was just starting to go somewhere. Theres a coda at the end that involves the Baron making a toast to "A son to the house of Frankenstein". I have to wonder why it is there as it only serves to confuse as to whether or not Henry is dead or not. Personally it makes me wonder by the Baron isn't in the sequel. While it isn’t as frustrating a coda as the end of “The Fly”, but I still thinking the image of the burning windmill and a strong musical score to cap it off would have made a much better ending.

The setting creates the gloomy mood appropriate for such a scary story, Karloff's portrayl of the monster is simply unforgettable, but the film is limited by time and doesn't develop our leading characters their full potential and just seems to stop a little short.

Final Score:

Four out of Five. Great.