Wolf Man: The Legacy Collection
DVD - 2 Disc Set - Black & White Learn more
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- DVD Release Date: 04/27/2004
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- Sales Rank: 5,468
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Features
Closed Caption; Van Helsing director Stephen Sommers hosts an exclusive behind-the-scenes look at how these original classic werewolf films inspired his motion-picture event; "Monster by Moonlight" original documentary; Author and film historian Tom Weaver provides insightful commentary on The Wolf Man on an alternate audio track; Newly remastered audio track for maximum clarity
Full Product DetailsScene Index
Side #1 -- The Wolf Man/Frankenstein Meets the Wolf Man
1. Main Titles [1:32]
2. Lycanthropy [:47]
3. Talbot Castle [2:37]
4. The Observatory [3:50]
5. A Walking Stick [3:34]
6. A Fortune Teller [7:08]
7. An Investigation [5:44]
8. A Gypsy Burial [3:35]
9. Gwen's Accusers [2:51]
10. Frank Andrews [3:44]
11. The Gypsy Woman [4:17]
12. A Werewolf in Camp [8:51]
13. Time for Church [5:47]
14. Wolf Trap [3:42]
15. A Visit at Night [4:16]
16. All Tied Up [3:14]
17. The Hunt Is On [3:43]
18. End Credits [:29]
1. Tomb Robbers (Main Titles) [6:15]
2. Back From the Dead [4:35]
3. Full Moon [2:32]
4. Something Terrible Has Happened [4:17]
5. Diagnosed Lycanthropy [4:43]
6. Sign of the Beast [4:10]
7. No Hope to Die [3:51]
8. Animal Attack [3:24]
9. Finding the Monster [5:08]
10. Baroness Frankenstein [4:10]
11. Festival of Wine [7:36]
12. Rid the Curse [3:27]
13. The Secret of Life and Death [3:02]
14. Fix the Machines [4:24]
15. Destroying the Danger [2:52]
16. Full Power [2:59]
17. Strong Again [5:21]
18. End Titles [:18]
Side #2 -- She-Wolf of London
1. Legend of the Curse (Main Titles) [2:41]
2. A Race to Be Wed [3:54]
3. Playing Cupid [1:53]
4. Secret Family History [3:34]
5. Driving Away Evil Spirits [5:27]
6. Blood on My Hands [2:20]
7. Under the Weather [3:45]
8. I Want to Talk [2:49]
9. Criminal Investigation [2:27]
10. Confide in Each Other [4:25]
11. Constables on Patrol [4:04]
12. Reckless Night [3:15]
13. Broken Engagement [4:12]
14. Pursuit of a Suspect [4:48]
15. Asking Questions [2:59]
16. Presented With Evidence [2:35]
17. In Fear of Insanity [4:18]
18. She'll Never Kill Again [1:35]
Side #3 -- Werewolf of London
1. Quest for a Flower (Main Titles) [4:11]
2. Under a Full Moon [3:16]
3. Working on the Experiment [3:48]
4. Great to See You Again [3:17]
5. An Antidote for Lycanthrophobia [5:33]
6. Testing the Antiserum [5:29]
7. Two Blossoms for Two Souls [2:07]
8. Theft of the Mariphasa [5:26]
9. On the Prowl [6:30]
10. Warning Scotland Yard [4:52]
11. It's Too Late [2:01]
12. Reasonable Rooms to Let [5:56]
13. Wolf on the Loose [3:57]
14. A Stubborn Bud [4:25]
15. Locked Behind Bars [4:59]
16. Search for Dr. Glendon [4:48]
17. "Thanks for the Bullet" [3:49]
18. End Titles [:25]
Editorial Reviews
The classic 1941 horror film The Wolf Man remains the definitive werewolf picture, but six years prior, Universal Studios made an earlier, less successful stab at the myth of lycanthropy. While Werewolf of London may not be as creepy as its more famous successor, it still has much to offer. Henry Hull, as the stricken botanist Dr. Glendon, and most of the rest of the cast are rather bland, and the direction by Stuart Walker is fairly uninspired, but there is something inherently watchable about the story. Despite its expected outcome for Hull, it maintains interest throughout. A major reason for this may be the natural entertainment value of the werewolf story: the innocent man unable to control the beast within him. The sets are sparse and the photography rather flat, but strangely work to the film's benefit, as does the appropriately foreboding and dramatic score. Perhaps the best sequence is Hull's marvelously staged first transformation, which occurs during a tracking shot. Universal horror makeup master Jack Pierce (who, surprisingly, does not receive screen credit) creates a werewolf that is ideal for Hull's physical appearance, even if it is not as memorable as his later work on The Wolf Man. There is no doubt that Werewolf of London would have been a much more atmospheric chiller in the hands of James Whale or Tod Browning, but nevertheless it remains entertaining and effective. Bob Mastrangelo
"Even a man who is pure at heart/And says his prayers by night/May become a wolf when the wolf-bane blooms/And the moon is full and bright." Upon first hearing these words, Larry Talbot (Lon Chaney) dismisses them as childish folderol. After all, this is the 20th Century; how can a human being turn into a werewolf? Talbot soon learns how when he attempts to rescue Jenny Williams (Fay Helm) from a nocturnal attack by a wolf. Collapsing, Talbot discovers upon reviving that Jenny is dead-and, lying by her side, is not the body of a beast, but of a gypsy named Bela (Bela Lugosi). The son of fortune teller Maleva (Maria Ouspenskaya), Bela was a lycanthrope, or "wolf man." And now that he has been bitten by Bela, Talbot is cursed to suffer the torments of the damned whenever the moon is full. Arguably the best of the "original" Universal horrors (original in the sense that it was not based on an existing literary property, a la Frankenstein, Dracula and The Invisible Man), The Wolf Man boasts one of the most stellar casts ever to grace a "B" picture: Lon Chaney Jr., Claude Rains, Evelyn Ankers, Ralph Bellamy, Warren William, Patric Knowles, Maria Ouspenskaya and Bela Lugosi. The man-to-wolf transformation sequences-one of which took a full 24 hours to film-are thoroughly convincing, thanks to the cosmetic genius of Jack P. Pierce (Chaney had wanted to emulate his father by developing his own werewolf makeup, but existing union rules would not permit this). Alas, after this powerhouse opening volley, the Wolf Man character was relegated to a series of cheap sequels, teaming him with other Universal shock stars: Frankenstein Meets the Wolfman (1943), House of Frankenstein (1944) and House of Dracula (1945). The final ignominy was Abbott and Costello Meet Frankenstein (1945), in which Lawrence Talbot (Chaney again), having been cured of lycanthropy in House of Dracula, reverts to his werewolf status-and has to endure the one-liners of Lou Costello to boot! Hal Erickson
Frankenstein Meets the Wolfman is a better Wolfman movie than a Frankenstein movie, though Universal was on the right track in teaming up their two best monsters and allowing two female characters to hold the non-monster leads. Nearly everything wrong with the film arises from trying to cover up the weaknesses of Bela Lugosi as the Frankenstein monster, and, by the time the film was released, all of Lugosi's dialogue had been awkwardly removed. In fairness to Lugosi, he was a very wrong choice to play the monster at this point in his career, when both the monster's persona and Lugosi's persona were long established in the minds of moviegoers. Fortunately, there's much good about the film. William Roy Neill was among the most stylish of B-moviemakers, achieving an atmospheric look with lighting and camera creativity that might elude directors with larger budgets. The performances other than Lugosi's are strong, particularly Ilona Massey and Maria Ouspenskaya. A well-told, visually interesting film, Frankenstein Meets the Wolfman falls short of being the top-rank classic that it might have been. Richard Gilliam
She-Wolf of London is set in early 20th-century London where a series of nasty murders have recently occurred. An aunt then tells an innocent young girl that the blood of the werewolf flows through her veins and that she is responsible for the deaths. The distraught lass immediately breaks off her engagement. Fortunately, her lover is sufficiently devoted to her to begin investigating the strange case on his own. He soon finds the real culprit and is reunited with his lady love. Sandra Brennan All Movie Guide
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