“Even a Man who is pure in heart and says his prayers by night may become a wolf when the wolf-bane blooms and the autumn moon is bright”.
The best thing about the 1941 film is the tone-setting poem above, which was repeated at least one too many times in the original, yet it is absent from the 2010 remake except in the title. The Wolf Man seemed ripe for a remake since, of the original “horror classics,” it really wasn’t that good to begin with (the same goes for Creature from the Black Lagoon).
The 1941 film has several strikes against it, the first and foremost of which is writer Curt Siodmak, who, frankly, was a hack. The second is director George Waggner, who wasn’t really a hack but merely a competent, unimaginative commission director with no personal vision. Finally, there is “star” Lon Chaney, Jr. The younger Chaney gets picked on a lot these days and always has. He deserves it. He was an idiotic, drunken bully who had an obsessive hang-up about outdoing his father. Since Lon Sr. probably ranks with Chaplin in the silent acting department, Lon Jr., the pale, watered-down copy, did not have a chance. It’s amazing that Jr. even thought he would be able to compete. That said, Lon Jr. did have a few good character roles in his career. Damn few out of literally hundreds of films. He was quite good as the arthritic sheriff in Fred Zinnemann’s High Noon, as Big Sam in Stanley Kramer’s The Defiant Ones, as Spurge in Raoul Walsh’s Lion is in the Streets and Bruno in Jack Hill’s cult classic Spider Baby. Like Bela Lugosi, he was only good when he was actually being “directed.” Unlike Lugosi, however, Jr.’s signature horror role is not one of his best. That honor goes to his immortal Lenny in Lewis Milestone’s Of Mice and Men.
Even considering his success with Lenny, Larry Talbot is out of Lon’s range. Never once does Talbot’s amorous nature register. Evelyn Anker’s repeated flirtations with the hulking, rubbery Chaney only evoke numbing disbelief. If Jr. the romantic lead is ludicrous (that side seen at its mustached worst in the execrable Inner Sanctum series), then seeing Lon’s Talbot crying on the bed inspires cringe-inducing embarrassment. Chaney’s performance as Talbot was marginally Continue reading THE WOLF MAN (1941) & THE WOLFMAN (2010)