(Long Island, N.Y.) Well, another day, another remake- this time around, it’s The Wolfman, directed by Joe Johnston and featuring an impressive ensemble cast. However, I find it easier in my heart to forgive this one, as its source was originally filmed way back in 1941 and not a mere 5-10 years ago like most movies suffering remakes these days. Starring the great Lon Chaney Jr., the original Wolfman film was a tale of a man bitten by a bloodthirsty werewolf and, now infected with it’s curse, is finds himself forced to endure a transformation into the mythical beast with the emergence of every full moon.
The 1941 version is considered a classic and the Wolfman himself is a part of Universal Pictures’ famous stable of movie monsters including movies such as Dracula, Frankenstein, The Mummy, The Creature From The Black Lagoon (my girlfriend’s favorite), The Invisible Man, and The Phantom of the Opera. In addition to the Wolfman, several of these characters are also rumored to have new installments en route as well. It’s actually been a while since we’ve heard so much as a peep out of any of these guys, so as long as their respective remakes are well done, I say bring ’em on.
Taking up Chaney Jr.’s role for this go-around as the Wolfman is Benicio del Toro as Lawrence Talbot, a well-known actor in late-1800’s New York. After many years abroad, he returns home to his estranged family in England upon hearing of his brother Ben’s brutal murder, the latest rash of such killings that have been plaguing the countryside. What links these incidents is the savage way the victims have been mauled by their unknown assailant- almost is if it was a snarling beast and not a man. However, the locals authorities are at a loss as to the identity of the culprit, so after reconciling with his father, Sir John Talbot (Sir Anthony Hopkins, who brings the acting goods yet again) and consoling his brother’s fiance, Gwen (Emily Blunt), Lawrence sets out to investigate the cause behind his brother’s grim fate. A strange medallion that was in Ben’s belongings holds the key to his search.
Told that the medallion comes from a nearby Gypsy camp, Lawrence heads there and questions the old woman his brother got it from. But after the woman warns Lawrence that he’s in danger, the camp
comes under attack by a huge, wolf-like creature, and in the ensuring carnage Lawrence is bitten and gravely wounded. He is brought back to his father’s estate and watched over during his recovery by the ever-vigilant Gwen. However, to the amazement of everyone, Lawrence fully recovers from almost having his head ripped off lickity-split and soon seems better than ever…hmm. I think we can all see where THIS is going, yes? Well, if you can’t (don’t feel bad, Lawrence doesn’t know what’s going on either), I’m afraid I’m going to spoil the surprise for you: Lawrence was bitten by a werewolf, and guess what? Now he’s one too! Come the next full moon, we’re treated to some cutting edge make-up and CG effects as Lawrence painfully morphs into a deadly, humanoid wolf-thing, and goes on a murderous rampage, ironically just like the creature that claimed the life of his brother.
The locals, now understandably terrified, call for action, and it comes in the form of Inspector Francis Aberline of Scotland Yard (Agent Smith himself, Hugo Weaving). Aberline, whose previous work on the infamous Jack the Ripper case went (shall we say) less than brilliantly, is instantly suspicious of Lawrence, who himself suspects that something odd is afoot when he wakes the next morning half-naked and covered in blood. Mistaken for simple run-of-the-mill lunatic (as per the custom in horror movies, no one believes in monsters) and whisked away to one of
the pleasantly barbaric asylums of the day, things are looking bad for our hero. Even with the assistance of Gwen, now smitten with Lawrence, you can tell things aren’t going to end well for anyone involved. After all, there’s still another werewolf running around out there, his or her identity a mystery..
The 2010 version of The Wolfman isn’t really the template future filmmakers should follow for bringing the various Universal monsters back to celluloid life. Simply put: it’s far too fast-paced for its own good. I noticed this early on; the film starts out in high-gear and only gets faster and more intense as it goes along, scarcely allowing the audience to catch its collective breath…or get to know the film’s cast at all. Back-stories and relationships between characters are only hinted at, not explored; for example, Lawrence and Gwen fall in love and you’re left scratching your head as to why. They certainly didn’t seem to spend one second getting to know each other or anything.
The furious pacing extends even to the editing of the film itself: scenes are oddly cut, with no transitional shots to smooth things out. Here’s Lawrence opening a door; next shot, he’s halfway up a staircase, then suddenly in a bedroom. The pacing suggests that the point of the Wolfman was to get to the action/horror scenes as soon as possible, but at the cost of any tension or atmosphere that occasionally slowing things down might have served to create. As it is, The Wolfman isn’t scary in the least because it doesn’t give you any time to GET scared. This is a shame, because the film had enough going for it to warrant fleshing it out more; namely, its cast and visuals.
Let’s get to the cast first. As stated above, the Wolfman boasts a strong ensemble that helps to elevate the film slightly
beyond its shallow moorings. Benicio del Toro is effective as the lead, a man at odds both with his family and his own tragic past, now forced to deal with the savage curse of the werewolf. Anthony Hopkins…I mean, he’s Anthony Hopkins. In other words, he basically commands any scenes he’s in. Here, he plays Lawrence’s father as detached, loving, and sinister, and it was welcome to see him play a dark character once again. Emily Blunt as Gwen was solid, but forgettable; your typical damsel in distress.
Is Sigourney Weaver the only woman capable of playing a truly strong and determined female character that you can actually root for? It seems most modern roles for women have reverted back to 1950’s-style fare, which is a shame. And Hugo Weaving…well, I personally enjoy his work a great deal, but I think he suffers from lack of range; he plays most roles the same. The intense stare, the slow enunciation, the sophisticated air…all the Weaving trademarks are here. They work best when he plays a character in authority, so as an agent of Scotland Yard the role was suited perfectly for him, and as such he added a great deal to the movie. But again, The Wolfman is paced too damn fast for anyone’s performance to really shine like they should with the talent involved.
I can’t end this review without touching on how breathtaking The Wolfman is to look at. From the locations, to the sets, to the costumes, the film just oozes dark gothic beauty and texture. The cinematography is top-notch and the lighting fantastic, plainly establishing the mood in each scene- be it the dark and foreboding interior of a run-down Victorian mansion or moonlight filtering through the barren trees of a lonely forest. From its locations to its elaborate and fully convincing creature effects, The Wolfman mixes the practical with computer effects for entirely believable results, creating a visually unique and enthralling world.
Oh, and there’s LOTS of blood and gross stuff, too. Basically, any time the Wolfman smacks someone at least a gallon of blood and a few limbs go flying, along with the occasional head or two. The gore hounds will have a field day with this one, believe me.
Okay, to wrap it up: The Wolfman…real fast, real pretty, real vapid. Good, but with its
great cast and visuals squandered in favor of mindlessly ushering the film along at a breakneck pace, it’s total adds up to less than the sum of it’s parts. A shame.
