A Fever Dream Double Feature.
The Geographical Werewolf sub-sub-genre was inaugurated by Guy Endore’s terrific novel The Werewolf of Paris, and swiftly developed by Hollywood with Werewolf of London, where Henry Hull and Warner Oland got hairy around the Mother of Parliaments. John Landis’s AN AMERICAN WEREWOLF IN LONDON, easily his most interesting and effective film, is today the best-remembered entry in the G.W. field.
SHE-WOLF OF LONDON fails to satisfy. Essentially a Scooby Doo version of SUSPICION, it shilly-shallies around for nine-tenths of its duration, with all the action happening offscreen. Things pick up markedly in the last ten minutes, with director Jean Yarborough pouring on the dry ice fog and dutch-tilting the camera like a drunken sailor, but the revelation that there’s NO WEREWOLF takes the wind out of his sails. The credit “Make-up effects by Jack P. Pearce” promises much to a Universal Studios horror fan, but the great monster-maker’s work turns out to be confined to some fake wrinkles (very MUMMY-like) on a maidservant.
June Lockhart, as the heiress convinced she’s a wolf-woman, is cute and appealing, but always seems an unlikely lycanthrope, while the true culprit is constantly sinister even when trying not to be. The most convincing relationship in the film is between the two cops, who are like a bickering old married couple, although they’re not very convincing as Scotland Yard detectives.
More interesting, if not necessarily very effective, is WEREWOLF OF WASHINGTON, which doesn’t really attain the status of satire, at least not consistently, but is unusually directed — some weird, gratuitous bit of artsy technique enlivens most every scene — and does spin a few interesting things from its central conceit. Dean Stockwell, a fascinating actor whatever the film, plays Jack Whittier, a journalist recruited to work in the Whitehouse, bitten by a gypsy wolfman as he attempts to leave Hungary to take up his post. The opening reprises the Lon Chaney WOLFMAN with wit and low-budget panache, making the most of an obviously inadequate lighting budget.
“That it could happen… in America. That it could happen… now. That it could ever happen… to me…” the film kicks off with these words, tremulously uttered by Stockwell in V.O. over a long lens moonrise against the Washington skyline, while the titles play out and the music warbles, and none of these visual and aural elements quite connect with each other. This odd, off-key beginning is maybe the high point.
Elsewhere we get dwarf actor Michael Dunn as mad scientist Dr. Kiss, and arch references to the Watergate Hotel and lines like “Well, you won’t have Jack Whittier to kick around anymore.” Most amusingly, when Stockwell tries to concoct a less plausible explanation for his lapses of memory, he hits on the plot of THE MANCHURIAN CANDIDATE and suggests that he’s been brainwashed to act as an assassin for the communists. But while there are a few amusing political quotations, and a little bit of parody of Washington lifestyles, there’s virtually nothing about policy, making it a would-be political satire without any politics. It (ouch) lacks bite.
The print seems to be faded down one side, and is hideously speckled and cropped to 1:1.33, but that just added to the nostalgia value of the fashions and filmmaking. What became of Milton Moses Ginsberg, writer-director of this geo-lycanthropic politico-horror satire? According to the IMDb, after finishing this one he lay down to rest for twenty-six years, returning to our screens with THE HALOED BIRD, a short film, in 2001, in which he himself plays… the Golem.