1981: THE YEAR OF THE WOLF. . .Man! by Matt Olsen (a look at 4 werewolf movies from the dawn of the 1980's)

1981 – The Year of the Wolf, man.

For unknown (and, admittedly, unresearched) reasons, four separate werewolf movies were released in the US in 1981. Perhaps it was a final resonance of the seventies – the hairiest decade in recent history – or maybe it was one of those Armageddon / Deep Impact confluences. However it happened, this pack of Reagan-era loup-garou resulted in an Alpha classic, one worthwhile Beta, and, though user experiences may vary, two Omega dogs. 

The Howling, directed by Joe Dante. Released April 10, 1981 

OMEGA
Very likely, the only controversial ranking among the four, The Howling boasts an undeservedly positive reputation in the world of werewolf cinema. The story has elements of an interesting idea suggesting the characters’ lycanthropy has the potential to be mediated through a sort of group therapy but this is never fruitfully explored beyond a photogenic Northern California campground retreat and it’s ultimately abandoned by the final third’s flurry of fur and fire. The film bears the typical Joe Dante hallmarks. There are in-jokes, cameos, character actors, and a (not always successful) blend of tension and humor, all of which he would employ to much greater effect soon thereafter in the all-time American Christmas classic, Gremlins. Highpoints include the first fifteen minutes with television reporter, Dee Wallace, tracking a disreputable source through a convincingly squalid downtown L.A. porn district, John Sayles’ (also the film’s screenwriter) performance as an unfazed coroner, stalwart Dick Miller’s five minutes as the irreverent manager of an occult store, and the film’s effective – though indulgent - transformation effects.

Tomorrow: Wolfen

1981 – The Year of the Wolf, man.

Continuing our analysis and review of 1981’s four-part cycle of werewolf (and werewolf-adjacent) films: one Alpha classic, a worthwhile Beta, and, while opinions may differ, two Omega dogs. 

Wolfen, directed by Michael Wadleigh. Released July 28, 1981

BETA 

Careful readers will have noted the above reference to ‘werewolf-adjacent’ movies. Welcome, Wolfen. (1981, dir by Michael Wadleigh) (Had I not self-imposed the wolfpack-thematic ranking structure, I’d be inclined to rate this intriguing film higher. But the Canis lupus hierarchy allows for only one Alpha.) Albert Finney leads with a vital entry in the well-versed character genre of the sloppy detective. He’s introduced in a sweatsuit, carrying a sack of groceries. Prepare yourself for thrills! As Finney investigates a series of gruesome murders (animal attacks? Native American shapeshifters?), the clues lead Finney to a visually stunning collection of early 80s NYC locations including a vertiginous meeting atop the Manhattan Bridge and a hide and seek through the absolute – and I mean ABSOLUTE - desolation of South Bronx urban decay. The supporting cast includes excellent and lively performances from Tom Noonan, Gregory Hines, and Edward James Olmos. Hines is especially energizing as Finney’s counterpart / colleague. The typical weaknesses of an injected love story and light narrative reliance on some mumbo jumbo are exceeded by the consistent mood, thick as a pelt of blood-matted fur, and the exciting presence of convincingly unsettling actual, real wolves. (Or something close to them.)

TOMORROW: An American Werewolf in London

Part three of our quest to catalogue 1981’s quartet of werewolf films: one Alpha classic, a worthwhile Beta, and, make up your own mind, but yes, two Omega dogs. 

An American Werewolf in London, directed by John Landis. Released August 21, 1981

ALPHA

Obviously, this is an unqualified classic and if you’re hearing about it here for the first time, no judgment. We each progress at our own pace and what not. With that being said, stop reading this and watch the movie already. I promise you it’s more entertaining. The film is an almost miraculous balance of horror and humor, each always present but neither at the expense of the other. The make-up and special effects are still, for the most part, very effective with the slightest suspension of disbelief needed only during scenes featuring the fully transformed beast. The film succeeds primarily on two fronts: characters and locations. David Naughton and Griffin Dunne are immediately authentic and engaging. Their friendship feels real. Even under the direst of circumstances, there’s an easy comfort between them. Though Naughton’s romance with his nurse, played by Jenny Agutter, is certainly accelerated (the film is only 97 minutes long) their mutual attraction is credible and clear. Scenes carousel through a wide range of evocative locales: the village pub, thick with a century of sweat, grime, and stories best left untold; the claustrophobic tunnels of the empty Tube station after midnight; the foggy moors bordered by endless night; even the Nurse’s apartment (okay, flat) perfectly suits her character. It’s an infinitely entertaining film told simply and with uninhibited invention.

 Finally Tomorrow: Full Moon High

1981 – The Year of the Wolf, man.

At last, our dissection of the highs and lows of werewolf cinema of 1981 comes to an end. Across previous installments we’ve identified one Alpha classic, An American Werewolf in London, a worthwhile Beta in Wolfen, and two Omega stragglers: The Howling and today’s entry: 

Full Moon High, directed by Larry Cohen. Released October 9, 1981

OMEGA

Larry Cohen holds an interesting place in late-seventies / eighties US film history. Nomenclatures such as “schlockmeister” are almost always placed ahead of his name and not entirely fairly. Within limited budgets, resources, and arguable ability, he managed to produce at least a few watchably “fun” movies including God Told Me To, Q: The Winged Serpent, and The Stuff. Full Moon High is, as far as I have been willing to explore, his only outright comedy. It attempts to capture the same anything-for-a-laugh spirit of contemporaries such as Airplane! or Rock & Roll High School in its tale of a high school football player (Adam Arkin) bitten by a werewolf while on a trip to Romania with his father, a CIA agent played by Ed McMahon(!) There are some potentially fecund ideas in the story which spans decades but the overall sense of disinterest and laziness dampens most of the enjoyment which could have been mined, generously speaking. Only Alan Arkin, who appears near the end, captures a useful approach with his performance as a disrespectful psychiatrist. The character doesn’t fit well at all but then almost nothing does. At the very least, his ten minutes onscreen are the easiest to enjoy.

Wherefore the overwash of werewolves in 1981? Maybe lycanthropy, like entropy, is better measured in its absence. Instead of asking about the momentary surfeit, where are the werewolf movies of today? I can recommend a Brazilian film, Good Manners, from 2017 and I’ve heard intriguing things but have yet to see The Wolf of Snow Hollow from last year. Perhaps a new era is on the rise, coming with the next full moon.

Matt Olsen is a largely unemployed part-time writer and even more part-time commercial actor living once again in Seattle after escaping from Los Angeles like Kurt Russell in that movie about the guy who escapes from Los Angeles.