Here’s the teaser for SyFy’s ‘Americanized’ take on BEING HUMAN, the BBC’s “young urban monsters trying to pass in the real world” series.
It features no footage from the upcoming show.
“Syfy’s all-new drama series BEING HUMAN, starring Sam Witwer (Smallville, Battlestar Galactica), Meaghan Rath (The Assistants), Sam Huntington (Cavemen, Superman Returns) and Mark Pellegrino (Lost, Supernatural) has commenced production in Montreal, Canada. Adam Kane (The Mentalist, Heroes) is Director and Co-Executive Producer with Executive Producer Michael Prupas (The Kennedys, Pillars of the Earth) and husband and wife Executive Producers/Writers Jeremy Carver (Supernatural) and Anna Fricke (Men in Trees, Everwood). Muse Entertainment is producing 13 1-hour episodes for Syfy. Being Human, a re-imagining of the acclaimed UK series created by Toby Whithouse, follows three paranormal, 20-something roommates living in Boston – vampire “Aidan” (Witwer), werewolf “Josh” (Huntington) and ghost “Sally” (Rath) – as they struggle to hide their dark secrets from the world, while helping each other navigate the complexities of living double lives and trying to be human. Mark Pellegrino plays Aidan’s charismatic but menacing vampire mentor ‘Bishop.’
The producer is Irene Litinsky (Human Trafficking, The Phantom) of Muse Entertainment, the director of photography is Pierre Jodoin (The Last Templar, Secrets of the Mountain) and the production designer is Zoe Sakellaropoulo (The Last Templar, The Phantom).”
The original BEING HUMAN currently airs on BBC America on Saturdays at 9:00 pm/8 Central.
According to the LA Times, writer Fernley Phillips is in talks with the Weinstein Brothers to write their upcoming remake of AN AMERICAN WEREWOLF IN LONDON. Phillips’ only produced screen credit to date is THE NUMBER 23 starring Jim Carrey. The Weinstein Company is expected to release the film under its Dimension Films label, which they usually reserve for genre pictures. They’ve brought Phillips on board for the purpose of bringing a more “modern spin” to the story. Are you a fan of the original? How does this strike you?
This past June, Summit Entertainment confirmed that the final book of the TWILIGHT series would be released in two parts. Today, we have confirmation that THE TWILIGHT SAGA: BREAKING DAWN PART 2 will hit theaters in November 2012, one year after Part 1. After the first three films of the saga were released in less than two years, this certainly does seem like a change of pace, but it does reflect a more conventional release schedule.
The Dylan Dog film adaptation starring Brandon Routh (SUPERMAN RETURNS) is almost ready for release in Italy and the first footage has made its way into the public. DEAD OF NIGHT is the story of Dylan Dog and his zombified friend Marcus. In this world, zombies rely on shops that sell flesh for sustenance. Dylan finds himself pitted against a world filled with a host of supernatural creatures including werewolves and vampires.
Source: Shock Till You Drop
Shot in 2009 as DARK MOON RISING, this werewolf pic underwent a title change on the way to its June 22, 2010 direct-to-video release, apparently in an effort to make it sound more like THE WOLF MAN. Ironically, the real source of inspiration is not Universal’s 1941 classic, nor the 2010 remake, but the TWILIGHT films, with a lycanthrope replacing a vampire as the romantic male lead. Poor pacing and weak continuity prevent WOLF MOON from being any kind of sleeper success, in spite of production values that are occasionally impressive for a little movie that apparently came out of nowhere. Fans of TWILIGHT will probably find the story too derivative and the violence too graphic, while general horror fans will be put off by the attempt to cash in on the teen-romance elements of the popular franchise. Fans of the cast’s familiar names and faces may be the only ones interested.
Story has drifter Dan (Chris Divecchio) wander into a small desert town, where he meets Amy(Ginny Weirick). Initially he rebuffs her advances because he has a dark secret: he’s a werewolf. After he changes his mind, a romance ensues, but Amy’s dad John (Chris Mulkey) disapproves; he even asks the local sheriff, a woman named Sam (Maria Conchita Alonso) to run Dan out of town or at least scare him off. John’s over-protective attitude seems a tad less paranoid when a series of cattle killings and murders take place in the area. Is Dan responsible, or is it the work of a second lycanthrope? The question is soon answered when ex-cop Charles Thibodeaux (Billy Drago) shows up, hot on the trail of a serial killer named Bender (Max Ryan), who killed Thibodeaux’s wife. Bender, it is no surprise, turns out to be Dan’s werewolf-father, and rather like Darth Vader, he urges Dan to turn to the dark side, which in this case would consist of abandoning cattle mutilation in favor of human victims. Eventually, Dan, Amy, John, Sam, and Charles team up with local hothead Crazy Louis (Sid Haig) to confront Bender in a midnight showdown outside of town…
The pleasant surprise is that, unlike many low-budget horror efforts, WOLF MOON actually strives to service its characters – not only the young lovers but also the older actors who have obviously been hired to add some name value. Mulkey (TWIN PEAKS) and Alonso (THE RUNNING MAN) get actual roles to play, not mere walk-ons, and they do a decent job. As an extra, added bonus, exploitation regulars Drago and Haig show up in supporting roles, and they, too, get enough screen time to justify their presence.
The unfortunate downside is that this screen time adds up: WOLF MOON runs a leisurely paced 2 hours and 4 minutes. This might have been forgivable if the script had used the time to weave its characters into an intricate story; however, the narrative is loaded with gratuitous violence and marred by ridiculous lapses in continuity. Characters disappear for so long that when they reappear you have forgotten what they’re up to; numerous scenes that do not advance the plot introduced and then promptly forgotten as if they had never happened.
Most of these have to do with the predations of Bender, as if we need constant reminding of just how horrible he is. At one point he kills a psychic who has given Dan and Amy some useful information; the woman’s death never registers on the plot, and since Dan and Amy had already learned what they needed to know, Bender’s murder of the woman achieves nothing. Even worse, Bender later chokes Sheriff Sam in broad daylight, threatening to killer her if she pursues her investigation. (Apparently Bender is not a homicidal maniac who likes to keep a low profile, but since when is he a killer who issues warnings instead of killing someone when he has a chance?) The warning literally has no effect: next time we see Sam, she is doing just what she did before, apparently without telling John or anyone about what happened. You could cut the scene and it would literally make no change in the story.
Continuity lapses are not the only script problem. John’s concern about his daughter’s involvement with Dan is mishandled. On two occasions Amy is roughed up or hurt, and Dan rescues her. When John later notices Amy’s condition, he mistakenly blames Dan. In response, Amy goes full retard (and everyone knows you don’t go full retard): Not only does Amy fail to correct her father’s misunderstanding; she makes vague replies that seem to confirm his suspicion.
The story’s one interesting innovation is portraying its werewolf as a serial killer, which makes his predations somehow more believable and creepy. Max Ryan, as Bender, is appropriately sinister, but director Dana Mennie allows his to go too far over the top – he’s like the funniest guy at a party, who drinks too much and gets too loud, and none of his friends have the heart to tell him he’s worn out his welcome. WOLF MOON uses old-fashioned makeup and prosthetics for its werewolves. The creatures are seldom seen clearly, probably because there is little lupine in their appearance: in long shots, the furry bodies suggest apes; facial closeups suggest bats or demons rather than wolves. At least the low-budget prevented an excess of computer-generated imagery, which works in the film’s favor: the CGI transformations are mercifully brief, which makes them surprisingly effective (well, the first once or twice anyway; after that, the digital origins become too noticeable).
WOLF MOON’s chief strengths lie in its cinematography and its soundtrack. Desert landscapes are used to establish an effective atmosphere far removed from the misty moors of Universal Pictures THE WOLF MAN, and several original songs add to the ambiance. (You get the feeling that director Mennie should be working in documentaries and/or music videos rather than narrative films.)
With numerous helicopter shots of mountains and wide open space, WOLF MOON suggests a sincere effort at making something bigger and better than the usual direct-to-video thriller – probably intended as a calling card that would open doors in Hollywood. Too bad the ambition is undermined by an excess of violence and a misguided screenplay that awkwardly leaves the door open for a sequel (once Bender is defeated, which should severe the werewolf bloodline and leave Dan normal, Dan inexplicably leaves town like a Western hero riding off into the sunset, instead of settling down with Amy now that there is no impediment to their romance). It’s not likely many viewers will be waiting for this Dark Moon to rise again.
One final note: not content with credits for directing and co-writing the film, Dana Miller also takes a “created by” credit for the film. WOLF MOON (a.k.a. DARK MOON RISING, 2009; home video release June 22, 2010). Directed by Dana Mennie. Written by Ian Cook and Dana Mennie. Cast: Max Ryan, Maria Conchita Alonso, Chris Mulkey, Sid Haig, Ginny Weirick, Chris Divecchio, Billy Drago, Lin Shaye, Arielle Vandenberg, Rikki Gagne, Michael Hirshenson.
The unrated director’s cut of THE WOLFMAN offers few improvements and creates a glaring continuity problem.
When this Gothic horror show howled into theatres this past February, it was with a certain amount of baggage, being a remake of one of Universal Pictures’ most fondly remembered monster movies from the 1940s. Over the past couple decades, Universal has shown an interest in mining their classic horror legacy (which dates back to the silent era) for new chills and/or revenue dollars, releasing restored prints of old titles to art houses in the ’90s under the “Universal Horror” banner and later packaging the titles into various DVD releases (“The Legacy Collection,” the “Classic Monsters Collection,” etc.), often loaded with lovely bonus features. Unfortunately, Universal’s previous attempts to resurrect their long dormant monsters for modern audiences, with THE MUMMY (1999), its sequels, and VAN HELSING (2000), turned out to be (financially successful) artistic disappointments that betrayed the Gothic horror legacy by opting for action-adventure heroics, hyped with lots of computer-generated effects but few real scares. THE WOLF MAN, it was devoutly to be wished, would correct this mistake, hewing closer to the source material. The remake does successfully recreate the template of the 1941 original; sadly, it does so in the wrong way. The DVD and Blu-ray release of an unrated director’s cut allows a second chance to assess the results; curious fans will want to check out the longer version, but it offers few if any improvements and creates a glaring continuity problem.
What the 2010 THE WOLFMAN has going for it is production value and atmosphere; what it lacks is a compelling, original vision. With contributions from production designer Rick Heinrichs, composer Danny Elfman, and screenwriter Andrew Kevin Walker, all of whom worked on the similarly spooky SLEEPY HOLLOW (1999), THE WOLFMAN feels like an ersatz Tim Burton production, without the director’s unique eye to fashion these contributions into macabre visual poetry. Instead, we get the competent but prosaic work of Joe Johnston (JURASSIC PARK III); he knows how to get the story in the camera, but he doesn’t know how to imbue it with the uncanny resonance that will send shudders up your spine.
In this regard, THE WOLFMAN is a too faithful recreation of what Universal Pictures was doing in the 1940s: the 1930s’ Golden Age of Horror had past, and the company was recycling old ideas, with great technical achievements still in place (sets, special effects, makeup) but without distinctive directors (such as James Whale and Tod Browning), who could add a recognizable personal touch. THE WOLFMAN (1941) was very much of this mold, competently executed by producer-director George Waggner but not necessarily inspired. What saves the black-and-white film from mediocrity is the tragic trajectory of doomed protagonist Lawrence Talbot (Lon Chaney Jr.), a likable, even ebullient man whose life goes to hell after he is bitten by a werewolf.
The WOLFMAN remake updates the atmospherics, replacing black-and-white photography with color but utilizing a muted, almost desaturated palate that captures a similar kind of almost Expressionistic atmosphere. The sets and costumes are marvelous. Rick Baker’s makeup is a worthy tribute to the Jack Pierce’s work in the old film, recognizably similar but updated and improved. The computer-generated imagery is not as out-of-place as it might have been (although the werewolves running on all fours are not particularly impressive.) For fans of old-fashioned Gothic horror, the movie looks like a dream come true – or rather, a deliciously delightful nightmare of fog-bound moors and ancestral manses, layered so thick with sinister ambiance that you can almost taste it.
And yet, THE WOLFMAN is a curiously hollow and unmoving experience. The screenplay is muddled in its attempt to expand upon the original, throwing in bits and pieces lifted not only from the 1941 film but also Universal’s earlier THE WEREWOLF OF LONDON (1935) – which featured a conflict between two werewolves – and Hammer Films’ later CURSE OF THE WEREWOLF (1961) – which had its lycanthrope running across rooftops while pursued by a mob at street level (not to mention the fact the WOLF MAN’s star Benicio Del Toro resembles CURSE’s Oliver Reed much more than Lon Chaney Jr). Even Inspector Abberline, the real-life detective previously played by Johnny Depp in FROM HELL, shows up.
Although a successful Shakespearean actor, Del Toro’s Lawrence Talbot is dour from the beginning, a far cry from the happy-go-lucky character portrayed by Chaney. This interpretation is dictated by the script (which gives Lawrence a childhood tragedy in the form of his mother’s death, followed by bad blood between him and his father, played by Anthony Hopkins), but it robs the story of any visible arc: things looks bad from the beginning, and they pretty much stay that way, with no ray of sunshine to offer any hope. Yes, this is supposed to be a tragedy about a doomed man, but you at least want the audience to feel the sense of a potentially happy life lost to unfortunate circumstances. Instead, the manifest inevitability robs the narrative of any suspense, warning us to never fully identify with Talbot and empathize with his plight. Without that dramatic involvement, the movie is just so many pretty moving pictures.
THE UNRATED CUT
When THE WOLF MAN was in theatres, word leaked that the film had been heavily re-edited (the original 2009 release date had been pushed back, giving more time for post-production tinkering). It was hoped that a more complete version would fill in the emotional gaps needed to make the story more compelling. Unfortunately, this proves not to be the case.
Now available on DVD and Blu-ray, the extended cut (called the “unrated version” on screen and the “unrated director’s cut” on the box art) restores a few expository scenes and several moments of bloodshed, but it does little to solve the problems inherent in the theatrical version. THE WOLFMAN remains a dour downer from beginning to end, one that never invites you into its world, forcing you to watch events at arm’s length, with the ironic result that it feels more distant from us than the 1941 film does decades after its release.
The extended version begins with a modern mockup of Universal’s 1940s black-and-white logo, instead of the contemporary color one seen in theatres. The first editorial change occurs during the prologue, which is extended past the point when Ben Talbot (Simon Merrells) flees in panic after being attacked by a briefly glimpsed creature. Whereas the theatrical version faded out on a wide angle shot of Ben running away in the background while a werewolf’s clawed hand filled the right hand side of the frame in foreground, the unrated cut shows Ben collapsing before the mausoleum and looking up in horror, followed by a reverse angle shot of a werewolf lunging at the camera. It’s a little too early in the running time to reveal the monster. Also the creature’s appearance has been fudged slightly: seen later, Rick Baker’s makeup for the monsters tries to suggest the human countenance underneath; what’s seen here is a more generic werewolf, in order to main the mystery of who is hiding beneath the fur.
As before, the prologue segues to the WOLFMAN’s opening title*, followed by a scene of Lawrence Talbot on stage. In the theatrical version, this was part of a montage that quickly set the story in motion, with Ben’s fiance Gwen (Emily Blunt) writing a letter to Lawrence, seeking help in finding out what happened to his brother. In the unrated cut, Gwen actually shows up back stage after the performance to see Lawrence in person. He demurs, because he is contracted for another thirty performances, but then changes his mind without any negative consequences (guess that contract wasn’t so iron-clad).
On the way back to the ancestral home, we see another restored scene, this time of Lawrence waking up in a train car to find himself in the presence of an old man (played in an unbilled cameo by the always wonderful Max Von Sydow), who insists on making a present of a wolf’s-headed cane. As intriguing as the scene is, it raises expectations that go unfulfilled: the almost magical presence of Sydow’s character (he appears and disappears while Talbot is asleep) suggests an angel bequeathing a special gift that will play a crucial part in the later proceedings; although the cane is used in the final werewolf battle, it doesn’t tip the scales one way or the other, so it’s easy to see why the set-up scene (figuratively loading a gun to be fired in the third act) was omitted.
From this point forward, the unrated cut of THE WOLFMAN more or less follows the theatrical version, with a few additional bits of dialogue here and there (the locals have more to say in the tavern, and we see more of the awkward domestic situation at Talbot hall). In London, Lawrence buys a boy’s entire stack of newspapers to prevent anyone from seeing his wanted picture on the front page. Plus, there is more blood spatter and somewhat more lingering takes during the scenes of graphic mayhem. Although it’s hard to fault a film about a savage monster for depicting that savagery upon screen, the gore feels a bit misplaced in this old-fashioned milieu, and it has a “neither here nor there” quality about it: too graphic for fans of classic horror, too mild for the hard-core gorehounds.
There is also a slightly generic quality about the mutilation. There is no particular reason for a werewolf to be knocking peoples heads off; it’s just an over-the-top monster moment. It would have been nice if someone had figured out something more specific: What does a werewolf want: the blood of its victims, or their flesh, or just carnage for its own sake? And how would a hybrid monster – half-man and half-wolf – go about achieving this? (There is a sly joke with makeup man Rick Baker appearing briefly as an armed villager killed by the werewolf; had the film resorted to gratuitously gory evisceration at this point, instead of a mere flash, the humor would have been magnified several fold.)
The the most glaring problem with the unrated cut is not carnage but continuity. The theatrical version cleverly used Gwen’s letter, delivered in voice over layered on top of a montage of Lawrence heading home, to compress the opening exposition into half a minute of screen time. The extended version adds unnecessary scenes that take over seven minutes to achieve the same results, and the inclusion of Gwen’s backstage scene with Lawrence creates an embarrassing gaffe: after Lawrence returns home, there remain at least two dialogue references to his having been summoned by Gwen’s letter, when we have clearly seen him summoned by her in person (and in fact the letter does not exist in this cut).
In the end, the unrated cut of THE WOLFMAN remains much the same as the theatrical cut: a glossy, good-looking production that never fully delivers on its promise of resurrecting one of the great movie monsters for a modern audience. Horror fans will find it worth watching, and even casual viewers may get a kick out of seeing Oscar winners Del Toro and Hopkins indulging in an old-fashioned genre piece. We just wish that the results had lived up to their potential, creating a new millennium version of an old monster that would reignite interest in the form and launch a whole new cycle of Gothic horror thrillers.
Universal’s DVD of THE WOLFMAN includes both the R-rated theatrical version (1 hour and 43 minutes) and the unrated version (1 hour and 59 minutes). Both fit on one side of a single disc, using branching technology (there is a warning that the unrated director’s cut may cause problems for older DVD players). Both versions are divided into the same 20 chapter stops with the same titles, offering no indication of where to look for restored footage.
The Anamorphic Widescreen transfer (1.85) captures THE WOLF MAN’s atmospheric beauty. The audio offers options in English for Dolby Digital 5.1 Surround and 2.0 Stereo; in French DOlby Digital 5.1 Surround; and in Spanish 5.1 Dolby Digital Surround. (There is also Descriptive Video Service on the Theatrical version only.) Subtitle options include Spanish, French, and English for the hearing-impaired.
In a deleted scene, Lawrence crashes a costume party
Much of THE WOLFMAN’s missing material shows up not in the unrated cut but in the Deleted and Extended Scenes section, which is the DVD’s only bonus features. This includes five sequences:
Lawrence Talks with Glen. This is a short dialogue between the two characters, which takes place before the villagers’ first (unsuccessful) attempt to seize Lawrence. Lawrence thanks Gwen for nursing him through his illness, and Gwen expresses concern that she is the cause of all that has gone wrong (which turns out to be true when we realize that Sir John killed Ben to keep him from marrying Gwen and taking her away).
Singh’s Story. Brief additional dialogue: in the scene wherein Lawrence finds Singh’s silver bullets, the servant explains his loyalty to Sir John by recounting the English’s lord’s saving his life.
Extended Mausoleaum Transformation. We get a longer look at Lawrence’s change from man to werewolf, including shots of him crawling up the stairs out of the mausoleum.
Extended London Chase. Lawrence Talbot’s escape and brief race across the rooftops of London is one of the film’s highlights. The longer version contains a silly interlude with the Wolf Man crashing a costume party; while he approaches a female singer (who is apparently blind), the guests fail to notice that he’s a real monster – until he bites one in the skull. The scene seems to be suggesting something about the Wolf Man (he is clearly interested in the singer but he does not immediately attack her) but what? That music soothes the savage breast? Perhaps this is supposed to offer a suggestion that, later in the film, Gwen may stand some chance of taming his wild impulses?
Extended Final Fight. Not much more action here; mostly, it’s more pauses between the action as the dueling werewolves catch their breath and/or size each other up.
ADDITIONAL BLU-RAY DETAILS & BONUS FEATURES
Universal’s Blu-ray disc offers a high-def transfer of the theatrical version and the unrated version, with English tracks in DTS-HD Master Audio 5.1 and English DVS Dolby Digital 2.0 Stereo, plus the French and Spanish 5.1 Surround mixes heard on the DVD. In addition to the Deleted and Extended Scenes, there are several bonus features exclusive to the Blu-ray release:
Two alternate endings
Return of the Wolf Man: a featurette on remaking the classic
The Beast Maker: a profile of Rick Baker
Transformation Secrets: a look at the visual effects
The Wolfman Unleashed: the team behind the stunts and action
Take Control: Rick Baker, effects producer Karne Murphy-Mundel, and cinematographer Shelly Johnson reveal details of the filmmaking process.
Werewolf Legacy, Legend and Lore: a virtual tour through Universals’ Wolf Man films.
BD Live and Pocket Blu: access additional content and apps through an internet-connected player or your smartphones, including a high-def streaming version of the 1941 version of THE WOLF MAN
With a sticker emblazoned on the DVD box, touting the WOLFMAN’s availability on Blu-ray, it is clear that Universal Pictures is pushing the format. But was it necessary to release a DVD minus bonus features that would, not so long ago, have been no-brainers for inclusion? Yes, Blu-ray can do things that DVD cannot, but that is no reason to omit alternate endings and featurettes that could have been included. As in the days when Hollywood was phasing out the laserdisc, it seems that additional bonus features are being used as leverage to force consumers to adopt the new format, whether they like it or not. UPDATE: Apparently, there is an exclusive two-disc DVD available at Best Buy, which includes some (but not all) of the extra features from the Blu-ray. FOOTNOTE:
The WOLFMAN’s closing credits were clearly designed to go up front, right after the opening title: they tease us with animated imagery (such as medical-type drawings of hair growing out of folicles) that was meant to whet our appetite for the horrors to come. Seen at the end of the film, the imagery is anti-climactic.
THE WOLF MAN (February 2010 theatrical release; June 1 home video release ). Directed by Joe Johnston. Written by Andrew Kevin Walker and David Self, based on the 1941 film “The Wolf Man,” written by Curt Siodmak. Cast: Benicio Del Toro, Anthony Hopkins, Emily Blunt, Hugo Weaving, Art Malik, Geraldine Chaplin, Roger Frost, Simon Merrells, Max Von Sydow (unrated cut only).
That’s right, Solid Snake is directing a film. David Hayter, the man responsible for the voice acting behind the METAL GEAR SOLID hero, as well as the writer on a number of different projects such as X2 and WATCHMEN is finally directing his own film: WOLVES.
WOLVES – a supernatural drama about teenage boys becoming werewolves – is to be shot on a small budget of $18 million. Hayter describes it as, “TWILIGHT with a bit more bite to it, and without abstinence” and will work more as an analogy for adolescence rather than focusing on any core werewolf mythology. Hayter has very much been a man behind the scenes throughout his career but has garnered somewhat of a cult following for himself and has often struggled to get projects off the ground.
Even WOLVES was meant to start production once before, with Crystal Sky backing the film, before the credit crunch hit the industry hard and he was forced to put his plans on hold. Based upon his previous work and by the sounds of the film, I for one am thoroughly happy to finally see Hayter takes the reins on what is somewhat of a dream project for the writer.
With E1 Entertainment providing the financial backing, Hayter is set to start shooting in July. What do you think, does this prospect interest you, or have you all had enough of vampires and werewolves?
If you are visually oriented and not inclined toward listening to an audio-only podcast, here is a video version of the debut episode of the Cinefantastique Horror, Fantasy and Science Fiction Podcast. This is roughly a nine-and-a-half minute excerpt from the first half of the podcast, illustrated with a slideshow of stills from the week’s topic, the remake of THE WOLFMAN starring Benicio Del Toro and Anthony Hopkins. It also includes the newer, “heavy metal” version of the trailer (as opposed to the earlier, more representative trailer, heard in the actual podcast).
Join Cinefantastique contributors Dan Persons, Lawrence, French, and Steve Biodrowski as they hunt the wild werewolf in the debut episode of the weekly Cinefantastique Horror, Fantasy & Science Fiction Podcast. This week’s subject is THE WOLFMAN, starring Benicio Del Toro and Anthony Hopkins. The film is of course a remake of THE WOLFMAN (1941), sarring Lon Chaney Jr., which immortalized the werewolf legend on film.
Click on the player below to hear the discussion. [NOTE: There was a technical glitch with the podcast file. If you are having trouble, please try again in a few minutes.]