Curse Of The Werewolf (1960) [VHS] [1961]

The late Oliver Reed was something of a hellraiser, and had a predilection for three "B's": Booze, Babes, and Brawls. Mr. Reed appeared on talk shows drunk, fell down a hill playing bagpipes in a drunken stupor during the filming of "Burnt Offerings", took a chainsaw and cut his house in half when his soon-to-be divorced first wife wanted "half the house", slugged reporters, and married a sixteen year old girl when he was in his mid 40s. Ollie was a born wild man, so he was a natural for the lead in the Hammer horror classic, "Curse of the Werewolf", early in his career. "Curse", made in 1961, was Reed's second or third film, and is Hammer's only werewolf film. Having scrapped plans for a film about the Spanish Inquisition, the ever-thrifty Hammer studio wasn't about to let their newly constructed Spanish sets go to waste. Changing the locale of Guy Endore's "Werewolf of Paris" to sunny Spain, they came up with a winner. Sensitive Leon Carrido, played by Mr. Reed, is the orphaned offspring of a crazed, animal-like beggar and a mute (and buxom-this is a Hammer film, remember!) servant girl. He has also inherited the curse of lycanthropy, and has shown disturbing signs of it in childhood, killing goats and his pet kitten in his nocturnal prowlings. When he reaches young manhood, he leaves his adoptive father and sets out to make his way in the world. But his affliction (abetted, no doubt, by his healthy male hormones) resurfaces, with alarming and tragic results. The love of a good girl (the boss' daughter) almost saves Leon from his fate, but "almost" doesn't count. What impressed me about this film (and still does) was how sad it was, and how fragile life is. There are so many innocent, tragic characters in the film. The beggar, taunted by an evil Marques, is caged like a wild animal which, in a way, he becomes; the mute servant girl, abused by the Marques and raped by the beggar, lives in the woods like an animal and dies giving birth to her son; Leon, never knowing his parents, is cursed by uncontrollable forces within himself, doomed to tragedy. And the poor animals! The savaged goats, Leon's kitten (tastefully referred to, not seen), and a shepherd's dog, mistakenly shot for the mysterious savage attacker of livestock. Animal lover that I am, I weep! The film has a more "intimate" feel than other Hammer outings, and is passionately photographed in striking color, directed by Hammer's famed Terence Fisher. It is acted with intensity and gusto by the virile Mr. Reed, as well as several Hammer regulars such as Clifford Evans, George Woodbridge and Michael Ripper, and there's a particularly loathsome portrayal of the decadent Marques by Anthony Dawson. Benjamin Frankel's beautiful, poignant and exciting score is noteworthy, with a frenzied climax that takes your breath away with its mad rhythms and vivid orchestrations. And, of course, there is Roy Ashton's memorable, demonic werewolf makeup. Reed's werewolf looks like a Gustav Dore illustration come to life, sensuously frightening and lusty, like a ferocious satyr on a rampage. Some people squawk that one doesn't see the werewolf until the climax of the film, but in my view, the suspense leading up to our finally seeing it is more than worth the wait. Oliver Reed was a nightclub bouncer before he turned to acting, and his surly good looks and powderkeg personality were put to good use in his films. Having played a brooding juvenile delinquent in "Beat Girl" prior to this film, this "angry young man" persona fit him like a glove. Ollie, I know you're raising a ruckus, wherever the hell you are!

Hammer only made one foray into the murky world of werewolf-mania, but they hit one over the fence with this entry. Young Leon Corledo (Oliver Reed) changes into a gray-pelted werewolf when evil is exalted and the full moon shines bright. Terence Fisher provides his sure-fire talent as director. Although influenced by the classic Universal product, this wolf man stands on his own. Odd elements to a familiar story line appear in the beast's origin. The script is based on "The Werewolf of Paris," an obscure novel by Guy Endore. The setting is 18th century Spain. Take note, the full werewolf makeup only appears at the climax of the film. The monster is the unseen terror for much of the movie. Suspense builds slowly. Unlike Dracula's unholy delight in his blood lust, Leon suffers the torments of the damned. The curse of the beast. The full moon draws him, but pure love and careful nurturing keep him human. Cristina (Catherine Feller) is his love interest. When they confine Leon in jail, Cristina can't minister to him. All hell breaks loose as the werewolf explodes out of jail and tears off over the rooftops. This beast must be part monkey, the way he jumps from ledge to roof and back again. He climbs the church tower, and meets his fate as the bells toll loudly. This is one of the great moments in Hammer folklore. The usual Hammer traits of lush color photography and rich period detail are evident. A true delight for collectors classic horror flicks. ;-)

Hammer Film Co. has style. Before the creators show you the monster, they show you the story behind the monster. This is solid film-making in the tradition of Jacques Tourneur. Oliver Reed is nothing short of outstanding.