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Being a fan of classic horror movies since the day I first learned how to spell “Halloween,” I went into “The Wolfman” with high expectations. It didn’t hurt that the lineup of stars included Benicio Del Toro, Anthony Hopkins and Hugo Weaving — three actors who seem to bring the Midas touch to any movie.
“The Wolfman” story has had several incarnations since Universals’ original 1941 release, ranging from cult classics like “An American Werewolf in London” to the very forgettable “Ginger Snaps.” While all were very unique interpretations, none managed to capture the somewhat campy, yet eminently tragic appeal of the original.
Director Joe Johnston’s 2010 version comes pretty close. Every element is present to satisfy the eye of even the most fastidious monster movie buff. There’s the necessary gypsy warning (foreshadowing is never subtle in a horror flick), the nosy police inspector (Weaving) who never manages to stick his nose in the right place until it’s almost too late, and the research scene where we discover that all libraries come stocked with ancient manuscripts on how to hunt the supernatural.
The movie opens in the English village of Blackmoor, where American actor Lawrence Talbot (Del Toro) returns to his ancestral home to search for his missing brother Ben (Simon Merrells). Shortly after his arrival, he learns that his brother’s body was ravaged by some unknown beast. Despite his father’s (Hopkins) warning not to go outside on the night of the full moon, a distraught Lawrence travels to the camp to discover the truth about the death. Through naïve bravery, Larry meets with the local werewolf. He struggles not to lose himself to the call of the moon.
Del Toro once again demonstrates a talent for making the unbelievable seem, well, believable. The actor went the extra mile of undergoing three hours of makeup, so audiences could experience a ‘real’ wolfman, and not just a CGI stand-in. Yet, his character lacks the innocent, blustering charm of Lon Chaney, Jr.’s 1941 portrayal. Instead, Del Toro’s morbid acceptance of his fate takes away from the gentle tragedy that provided the backbone to the original.
Unfortunately, the story begins to unravel about two-thirds in. Unlike Francis Ford Coppola’s modern treatment of “Dracula,” “Wolfman” gradually loses confidence in its own credibility.
Still, the film is worth seeing for the breathtaking longshots of a bleak English countryside, a Gothic score by the never-disappointing Danny Elfman, as well as Weaving’s pleasantly tongue-in-cheek performance as stodgy Detective Abberline.
As anyone familiar with ‘60s Hammer films will know, a horror movie doesn’t need a great plot to be enjoyable. Sometimes it just takes a monster – and actors with really convincing British accents. SPR
The Wolfman
R
Three reels out of four
Now playing in area theaters
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