Rating summary

Movie		3.5
Video		5.0
Audio		4.0
Extras		5.0
Overall		4.5

The Curse of the Werewolf Blu-ray Movie Review

Reviewed by Brian Orndorf May 9, 2020

Aiming to put their own spin on a werewolf tale, Hammer Films turns to a novel by Guy Endore for inspiration, but the real spark of the production is the casting of a young Oliver Reed to portray the monster. In his first starring role, Reed delivers a passionate, full-sweat, eye-bulging performance using his natural charisma to spin this creature feature into a more dramatic direction. Indeed, the titular plague is barely present in director Terence Fisher’s endeavor, and while that might disappoint some horror fans accustomed to seeing a werewolf in their werewolf entertainment, the trade-off is a more psychologically dense picture, with Hammer aiming for something more internalized than the average genre freak-out.

Reed portrays Leon, a Spanish man stuck with a werewolf curse due to the unfortunate date of his birth. Or something like that, as the picture has a little difficulty assigning a particular reason for such lifelong trauma, dabbling in ill-defined areas of sexual assault and imprisonment. Instead of instantly summoning violence as Leon begins to grasp his transformation, “The Curse of the Werewolf” slows down to enjoy its characters, with concerned types, love interests, and villains competing for screen time, while Fisher works out the action on elaborate period sets, which were actually made for a canceled production, handed to the helmer, who was ordered to make something sellable with the working parts of another effort.

“The Curse of the Werewolf” isn’t big on pace, crawling along as it explores Leon’s origin story and his troubled upbringing. The first act does a fine job establishing some sense of grim lineage, and Leon’s slow descent into panic as his creature side begins to take over has its highlights, especially with Reed, who offers commanding work, almost single-handedly keeping the movie alert while Fisher slows the effort to deal with dramatic entanglements and troubled relationships. “The Curse of the Werewolf” is talky, even by Hammer standards, never in a rush to get anywhere excitable with monster business. However, when Fisher does get around to violence, he has some technical muscle behind him, with Roy Ashton creating an impressively ghoulish makeup design for Leon’s transformation.

The Curse of the Werewolf Blu-ray Movie, Video Quality 

Originally issued on Blu-ray in 2016 by Universal, Shout Factory elects to revisit "The Curse of the Werewolf" in 2020, offering an AVC encoded image (1.85:1 aspect ratio) presentation sourced from a "New 4K scan from the original negative." The results should absolutely delight fans of the movie, as clarity is refreshed in full, now reaching as far as cinematographic limitations allow. Close-ups are key here, with a full display of makeup achievements, ranging from illnesses to Reed's final, furry transformation. Such macabre highlights are superbly textured, as is costuming, preserving the roughness of period outfits. Sets are clearly defined, open for inspection. Colors are respectfully refreshed, with bold primaries that identify deep reds and blues, with Reed's eye color vivid. Monster events are just as amplified, with werewolf blacks and browns securing artistic intent. Delineation is exact. Grain is fine and film-like. Source is in superb condition, with a few jumpy frames.

The Curse of the Werewolf Blu-ray Movie, Audio Quality 

The 2.0 DTS-HD MA sound mix remains in line with most Hammer releases, with dialogue exchanges most emphasized, keep performance choices appreciable and accents approachable. Scoring is loud but supportive, presented with acceptable instrumentation, protecting softer moments of introspection and broader scenes of violence, never slipping into distortion. Sound effects are blunt but effective, capturing animalistic activity, and atmospherics, including crowd bustle in all stages of unrest, are acceptable.

The Curse of the Werewolf Blu-ray Movie, Special Features and Extras 

• Commentary #1 features actress Yvonne Romain and special effects artist Mike Hill.

• Commentary #2 features film historians Constantine Nasr and Steve Haberman.

• "The Men Who Made Hammer" (19:12, HD) sits down with writer Richard Klemensen, who enjoyed a personal relationship with makeup artist Roy Ashton, using his time here to detail the extraordinary career Ashton had with Hammer Films. Early career highlights are shared before transitioning to "The Curse of the Werewolf," where the professional was in charge of transforming Oliver Reed into a monster. Time on other projects are recalled, including "The Gorgon," "The Evil of Frankenstein," "Plague of the Zombies," and "The Reptile," and Klemensen isn't shy about ripping into the Hammer suits, who frequently limited Ashton on time and money. The interviewee discusses his friendship with Ashton, developed over the years, and praises his imagination, on view in dozens of movies.

• "Serial Killer" (21:52, HD) joins author David Huckvale at his piano to discuss the work of composer Benjamin Frankel, who brought a special sound to "The Curse of the Werewolf." Frankel's early career is inspected, including a run-in with legal issues that threatened to destroy his reputation. Huckvale goes into the particulars of the "serialism technique" Frankel employed, rearranging notes to "create a new sound" for the production. The interviewee demonstrates the approach, highlights the changing of moods in select scenes, and points out different motifs created for the characters.

• "Making Of" (46:11, HD) collects interviews from artist Mike Hill, actors Catherine Feller (accompanied by her pet wolf), Yvonne Romain, and Oliver Reed (audio only), art director Don Mingaye, production manager Jimmy Sangster, and sculptress Margaret Robinson. A production history is provided, as producers went to a Guy Endore novel for inspiration, also making use of sets constructed for another film at Bray Studios. The family vibe of Hammer is highlighted, while "The Curse of the Werewolf" endured story changes and difficult technical achievements. Oliver Reed's behavior (and developing alcoholism) is carefully discussed, though Feller has no problem sharing his distaste for her co-star when the cameras weren't rolling. Makeup accomplishments are explored, along with costuming, and a celebration of director Terence Fisher closes the documentary.

• "Lycanthropy" (3:24, HD) is a brief overview of monster psychology with Feller and Hill, who have something to share concerning the state of the werewolf mind during times of extreme agitation.

• "Censoring the Werewolf" (13:42, HD) takes an in-depth look at the production issues facing "The Curse of the Werewolf," with interviews from authors Jonathan Rigby and Denis Meikle, writer Kevin Lyons, Professor Steve Chibnall, and historian John J. Johnston. More is shared about the shutdown of "The Rape of Sabena," an aborted Hammer production that left behind ornate sets to use. Most of the conversation examines Hammer's fight with the BBFC, who imposed heavy restrictions on "The Curse of the Werewolf," with the interviewees pointing out many cuts utilized to grant the feature a release.

• "Trailers from Hell" (2:37, SD) is hosted by John Landis, who opens the short appreciation clip by introducing himself as Terence Fisher. I'm not sure why. Landis provides brief production details for "The Curse of the Werewolf," laments the quality of Joe Dante's personal reel that was used for the segment (he keeps repeating that the real feature looks much better), and admits confusion with the whole curse angle of the story. However, he shares fondness for the picture, encouraging others to seek it out.

• Radio Spot (:28) offers a single audio commercial.

• Still Gallery (3:30) collects film stills, publicity photos, poster art, and lobby cards.

• And a Theatrical Trailer (1:51, HD) is included.

The Curse of the Werewolf Blu-ray Movie, Overall Score and Recommendation 

Sadly, Leon in monster mode is a rare occasion in "The Curse of the Werewolf." The picture is more interested in relationships and emotional dam bursts than physical horror, saving most of its fury for the finale, ending the film on an enjoyably tragic note. There's elegance here that's not always found in Hammer productions, allowing the feature to enjoy a little creative lift with appealing visuals and performances. It's simply in no hurry to get anywhere, which doesn't generate an engrossing viewing experience.