Just in-time for Halloween, Michael Giacchino’s Werewolf by Night revives the classic Marvel comics lycanthrope through a black-and-white lens that recalls the iconic Universal monster movies. Following the death of Ulysses Bloodstone, five hunters are summoned to Bloodstone Manor to compete in a monster hunt to determine their new leader, including the rather transparently named Jack Russell, and Ulysses’ estranged daughter, Elsa. What transpires is a display of impressive practical effects and cinematography that propels us into a bygone era of black-and-white supernatural gothic horror, complete with a misunderstood monster, gothic Bram Stoker setting, and highly disturbing, rigid animated puppet-corpse in the form of a dead Ulysses Bloodstone.
“This Halloween you can’t escape the shock, the terror of, Werewolf by Night”
It’s a crafty combination of sharp ‘30s visuals, retro smoke and mirrors, and purposefully imperfect props and monster suits which give it an air of authenticity, while making Werewolf by Night feel ostensibly stand-alone, like a comic book one-shot. It wouldn’t feel remotely out of place to see Bela Lugosi or Boris Karloff lurking in the shadows of its spooky gothic mansion, undead and craving blood, and it is clear to see Giacchino wears the shaggy fur influences of 1941s The Wolf Man and even the 1981 classic An American Werewolf in London shed all over this short horror flick. In some respects it comes at a unique time in cinematic history where we are celebrating significant anniversaries: 100-years of Nosferatu, as well as 81 and 41-years of the aforementioned The Wolf Man and An American Werewolf in London.
The attention to detail creates a unique atmosphere, where aside from the monochromatic palette, the practical makeup used during the titular werewolf’s transformation demands an excited, nostalgic connection from its viewers. Less so from the unfortunate goons in the nearby vicinity, torn limb from limb, which is far gorier than you might expect from a Universal monster movie, let alone a Marvel Cinematic property, though stylishly conveyed.
“Good luck. I’ll be “rotting” for you”
Classic long, slow zooms where the camera inches intimately to convey the terrified expressions of Elsa witnessing Jack Russell’s violent transformation from man to beast show off Giacchino’s mastery over Hitchcock-esque framing and tension. Shadowy silhouettes of the transformation itself leave more to the imagination, while a violent massacre obscured by deep shadows and blacked-out blood-spray help to heighten the tension and pave the way to payoff moments where you get to see the monsters – emphasis on the plural – in full, a feat most modern horror movies fail to live up to. Werewolf by Night is a successful homage to a classic horror genre Hollywood seems to have forgotten how to make, while also introducing great comic book characters to an MCU now heavily steeped in the supernatural thanks to Phase Four and the deeper exploration of the Doctor Strange mythos, soon to include the likes of Blade (originally considered to make an appearance here) and the Midnight Sons.
Gael Garcia Bernal bears the weight of his horrifying predicament as a creature of the night through his portrayal of Jack Russell, while Laura Donnelly’s Elsa displays a rebellious defiance and strength that builds chemistry between the two. While they are delightful to see on-screen, it has to be said that some of the other hunters are a little lacking comparatively, though with only a short run-time to introduce its cast, dive into its melancholy gothic world and establish its leads, this is almost to be expected. Besides, Marvel doesn’t have a good track record with its cinematic villains at any rate. While its noir lighting, practical effects and makeup, and smoke and mirrors design help to give Werewolf by Night its signature “forgotten movie” impression, director Michael Giacchino also provided the score, favouring jangly retro stylings that use classic horror strings and drums to add to the suspense.
“I can’t wait to find out what breed of evil you are…”
Where Universal have failed to resurrect their classical monster movies – particularly through the more recent 2017 The Mummy staring Tom Cruise intended to kick-off the new “Dark Universe” series – Werewolf by Night shows there is still a way. The fusion between modern and classic comes together in a way that begs for a Tomb of Dracula adaptation, and why stop there? Superheroes are the modern equivalent to the Universal Monster movies, and with many of them celebrating anniversaries, if Giacchino can successfully bring the classical werewolf back to our screens through a modern-classic lens, perhaps Marvel could do the same for the Mummy, Dracula and Frankenstein’s monsters modern cinema has struggled to recreate.
Great post!