Werewolf News

This month marks a major milestone for werewolf movie fans since December 16th was the 90th anniversary of the release of the 1925 silent Wolf Blood, which is the earliest extant werewolf-related feature on record. This is, of course, not to say it’s been given the deluxe restoration treatment. To date, its only DVD release has been through the budget label Alpha Video, which included it as a bonus feature on its release of F.W. Murnau’s The Haunted Castle in 2008. Within a year, Kino came to The Haunted Castle’s rescue with a restored authorized edition, but Wolf Blood still languishes and, like a lot of films in the public domain, can be viewed in its entirety on YouTube.

Subtitled “A tale of the forest” (because evidently the filmmakers didn’t want to go for the “tail” pun), Wolf Blood is set deep in the Canadian wilderness where a bitter rivalry between competing logging companies has fatal consequences. Caught up in the conflict is the Ford Logging Company’s new field boss Dick Bannister (George Chesebro, co-director with Bruce Mitchell), who quickly gets fed up with his men getting shot at per the orders of Consolidated Lumber’s underhanded owner Jules Deveroux (Roy Watson), who hires half-breed bootlegger Jacques Lebeq (Milburn Morante) to do the job. Dick calls in the boss, society dame Edith Ford (Marguerite Clayton), and she brings along her fiancé Eugene Horton (Ray Hanford), a doctor whose surgical skills come in handy when Dick has a run-in with Deveroux and requires a blood transfusion.

It’s a while before it comes to that, though, and in fact on the day Edith arrives at the camp Dick is felled by a tree but somehow suffers no ill effects, which already makes him out to be some kind of a superman. Even a superman can be overpowered when outnumbered, though, and after one of Deveroux’s men brains him with a rock he’s left to die in the woods, where he’s menaced by some of the least threatening wolves ever put on the screen. (I suppose they’re distant cousins of the lone hyena masquerading as a werewolf in Murnau’s Nosferatu.) Luckily, Eugene happens upon him and is able to keep him alive with the blood of a she-wolf, but there are complications when Lebeq starts spreading the rumor that he’s now half wolf and the superstitious lumberjacks start to shun him.

Even Eugene follows suit, telling Edith, who has since become smitten with him, that “the blood through his brain will change his whole character — his mentality — his desires — his whole life!” This, coupled with Dick’s vague memories of the “weird tales of the Loup Garou of the Far North,” makes him suspect himself when Deveroux turns up dead one morning with his throat torn out. He then heeds the call of the “phantom pack,” following their photo-negatives to the edge of Wolfs Head Rock, but Edith pulls him back at the last minute. Seems there’s a non-supernatural explanation after all, which is mildly disappointing, but it’s still preferable to, say, She-Wolf of London, the 70th anniversary of which no one will be celebrating next year.

Strictly speaking, 2014’s When Animals Dream isn’t a werewolf film, but since it’s a coming of age story about a young woman who, like her mother, is genetically disposed to grow thick hair all over her body — and become short-tempered and aggressive to boot — it’s close enough to count for this month’s Full Moon Feature. Set in a provincial fishing village in Denmark, When Animals Dream opens with 16-year-old protagonist Marie (Sonia Suhl, making an assured screen debut) seeing the doctor about a small rash on her chest. This concerns him enough that he submits her to a full examination of her fingernails, gums, and back, along with a barrage of questions about any other symptoms she may be experiencing. What these may be isn’t clear at first, just as there’s some mystery about what condition Marie’s invalid mother (Sonja Richter) suffers from, but it does require her to be given shots by Marie’s rock-steady father (Lars Mikkelsen), who’s also seen shaving her back. Then Marie starts having disturbing dreams in which she’s transforming into some kind of bestial creature and, well, do the math.

Even if they had eschewed the supernatural angle, director Jonas Alexander Arnby and screenwriter Rasmus Birch would have been on to something since they paint a compelling portrait of a withdrawn young woman struggling to fit in. New to her job working on a fish disassembly line, Marie has the expected locker-room confrontations with the factory’s alpha-male bully and undergoes a humiliating initiation where she’s pushed headlong into a tank filled with fish heads. (Paging Carrie White.) On the other hand, she also catches the eyes of friendly fisherman Daniel (Jakob Oftebro), whose interest is reciprocated. Heck, he doesn’t even bat an eye when she tells him, “I’m transforming into a monster and I really need to get laid before.” That’s what I call a keeper.

If When Animals Dream has a fault, it’s that once all its cards are on the table, the back half of the film is far too predictable. Still, it’s worth sticking with it to see how Marie is emboldened by the changes she’s going through, not just physically, but mentally and emotionally. When she’s leaving home for good and her father’s parting words to her are “Don’t take any crap,” viewers can feel confident she won’t.