The Howling Reborn | Full Movie - DVDRip

Language: English | Genres: Horror | Subtitle: Not Identified

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First a few words about the creative team behind 2010's remake of the immortal classic. The director, Joe Johnston, is no stranger to high profile films set in the past. He's responsible for "The Rocketeer" (which fell heartbreakingly short of the greatness it was capable of achieving), "October Sky" and "Hidalgo". While none of his films have been financial disasters, almost all have failed to deliver the expected box office dollars. His great strength as a filmmaker is crafting movies that look like old-fashioned, big budget Hollywood spectaculars, yet nearly all of his films seem to lack some vital essence. His biggest hit to date remains his first film: "Honey, I Shrunk the Kids" (which everyone from my generation remembers as the movie we went to go see because "Batman" was sold out). All things considered, I think he was an excellent choice to direct "The Wolfman", and the fact that it's set in 1880's plays to Johnston's strengths, provided he has a decent script to work with. The screenplay is a collaboration between David Self and Andrew Kevin Walker. Self's carrier is undistinguished -- a very short list of credits consisting mostly of unoriginal material; one hopes he wasn't chosen just because "The Haunting" was a huge hit (he wrote the screenplay for that horrible 1999 remake of the Shirley Jackson classic). Andrew Kevin Walker's best known original work is "Se7en" but he also wrote the underrated "8MM" (which I believe was inspired by Paul Schrader's similarly underrated "Hardcore"). Although he hasn't written much produced material since the late 90s, I think Walker's take on the Wolf Man story could be a very interesting one. The only other member of the creative team who warrants mentioning here is special effects makeup artist Rick Baker. I have yet to see Baker's finished work on the Wolf Man, but there is no doubt that this was a dream project for him. The original Wolf Man, of course, was one of the Four Great Universal Monsters, and the transformation scenes inspired generations of special effect makeup artists. Which brings us to the Year of the Wolf: 1981. The year that saw the release of "The Howling" and "An American Werewolf in London" and "Wolfen". All three movies dealt with the subject of werewolves in three very different, intriguing ways. It should be remembered that this spike in lycanthropy occurred during the absolute height of the Slasher Craze: "Halloween II" was the biggest horror hit of the year, followed closely by "Friday the 13th Part 2", followed by all kinds of holiday-themed imitators. Which makes this historical anomaly all the more curious: there was no clear financial incentive to produce a werewolf movie, yet three of the greatest werewolf movies of all time were released that year."The Howling" originated as a 1977 novel by Gary Bradner. It was marketed as an occult tale "in the tradition of Salem's Lot" (it says this on the back cover; some years ago I obtained a dog-eared copy from Ebay), and to this end it even borrows the idea of the nearly pitch black cover used famously on the first few paperback editions of Stephen King's influential account of vampirism. "Salem's Lot" of course was a huge bestseller, and the 1979 mini-series was a ratings winner, so it makes sense that "The Howling" was optioned around this time (perhaps solely on the strength of the easily pitchable "Salem's Lot with Werewolves" concept). The project eventually fell into the lap of Joe Dante, whose previous film "Piranha" was one of the better (and funniest) "JAWS" rip-offs. Here's where things get interesting. "An American Werewolf in London" was already in pre-production as Dante assembled his "Howling" team. Bradner's novel was eventually completely tossed in favor of an original script by John Sayles (nearly nothing from the novel, which wasn't particularly well written, made it into the film apart from the title and the general idea of werewolves). Dante originally approached Rick Baker to do the werewolf makeup, and from the beginning the transformation scenes were intended to be one of the film's selling points. Apparently Baker agreed to work on "The Howling" in tandem with his work on "American Werewolf". But when John Landis got wind of this arrangement, the young "Animal House" director wasn't pleased. Landis threw a fit, prompting Baker to quickly back away from any involvement with "The Howling".This created an opening for Rob Bottin, the twenty-year-old wunderkind who had previously worked with Dante on "Piranha". Bottin was very much Baker's protégé -- the young man who, by all available accounts, had learned everything he knew about special effects makeup from Baker, who had hired Bottin when he was just fourteen-years-old. One gets the sense that Baker, still a young man himself in those days, was something of a father figure to Bottin. They worked together on big budget projects like "Star Wars" and the underrated 1976 remake of "King Kong". Bottin was Baker's most gifted student, but Baker was very much the boss of his own shop. Young Rob often felt stifled, and increasingly frustrated each time his creative ideas were vetoed in favor of Baker's own. Rob Bottin, unbeknownst to Rick Baker, had something to prove to the world. "The Howling" was a golden opportunity for him to demonstrate that his skills were equal, if not superior, to his mentor's. The stage was now set to see who could create the best werewolf the movies had ever seen, and the race was on. It's easy to assume Baker encouraged Bottin to branch off on his own, but twenty-nine years worth of interviews and accounts from various people involved in the Great Werewolf Race suggests otherwise. There's a curious lack of documentation when it comes to Baker's opinion of Bottin's "Howling" work. It's a very touchy subject to this day. The fact is Baker felt betrayed by Bottin, not only for abruptly quitting Rick's shop, but also for smuggling many of Rick's "American Werewolf" techniques into "The Howling". Rick had given Rob his first job and taught him all the tricks of the trade. Rob's defection had to feel like a punch in the gut. At the same time, Baker probably expected Bottin to fall on his face; his protégé was just too young and too temperamental to make it on his own in the movie business. And Baker possessed one vital skill which he knew Bottin essentially lacked: the ability to work well with others. In terms of the Werewolf Race, Baker had a head start, an experienced team, and more money to work with. But Bottin possessed one key advantage over his former teacher: near total creative freedom. And as Rob Bottin has proven over the years, when given such freedom, he delivers incredible, sometimes legendary work. Baker's design had to conform to specific characteristics ordered by John Landis. Bottin was allowed to do whatever he wanted to, and what he wanted to do was create the most amazing werewolf transformation of all time. At first, the reach of both wolf designers very much exceeded their grasp. They have both stated that they initially desired to show one continuous transformation WITHOUT CUTTING AWAY; a goal which was essentially impossible in 1981. Both quickly realized this. The transformation scene in "The Howling" is the scarier of the two, and totally unlike anything ever before seen in film up to that time. The transformation begins after a character says "Let me give you a piece of my mind" and proceeds to pluck a morsel of brain out of a bullet wound on his forehead. The use of standard horror movie fare -- shadows and sound effects and creepy music -- greatly enhance the impact of what we see, which includes bubbling skin, cracking bones, growing fingernails, growing teeth, growing ears, an elongating snout. Bottin became obsessed (to the amusement of Dante and his cinematographer) with his designs being carefully masked with the use of darkness and shadows. Rick Baker, on the other hand, intended to show his transformation in a bright, well-lit room.