79. An American Werewolf in London (1981) - Dir: John Landis
An American Werewolf in London is one of my favorite horror-comedies, and I think it is also one of the most effective genre mash-ups. The reasons are simple: it is both funny, and scary, and it embraces each genre with gusto, not pulling punches in either one. It is goofy and silly, eliciting real laughs when it needs to be funny, and it is gross and frightening, showcasing real terror when it needs to be scary. In many ways, American Werewolf reminds me of the great films from Hong Kong made in the 1980s (like Mr. Vampire previously mentioned), films that really do have something to offer a wide variety of audiences, and films that respect fans of the different genres.
There are three areas in which this film shines. The first of these is found in John Landis's ability to twist and manipulate the film's tone and tension. Landis's script is simply a stroke of genius, and by adding a literal element to the “foreigner acting like a monster in a foreign land” motif, it plays upon the thematic conventions of this established sub-genre. Secondly, Landis's direction is mature and brimming with passion. He keeps tight control over the impending doom, and lets each reveal trickle in at precisely the right moment - this is a perfectly paced film. Landis was on a bit of a winning streak during this time, having completed The Kentucky Fried Movie, Animal House, and The Blues Brothers, and An American Werewolf is the perfect topper to this exciting era of his career.
The second aspect I admire about the film is the actors total commitment to the script and narrative. Everything, for the most part, is played straight, and as a matter of fact. The characters do not know that they are in an absurd, horror-comedy, and so there are no wink-wink, nudge, nudge, “look how clever we are being” moments. And let's face it, the film is pretty outlandish. Werewolves, a dead dude who haunts his best fried as a ghostly, decaying, zombie, and crazy dreams involving hellish Nazi zombies - Howard's End this is not. The three main characters, David Kessler (David Naugton), the werewolf, Jack Goodman (Griffin Dunne), his best zombie-friend, and Alex Price (Jenny Agutter), the love interest, all act as if this crazy, messed up horror comedy is really a total tragedy - and for them, it is. Landis did not make this film as a post-modern send up to genre cinema, but instead used his respect for genre conventions to craft his twisted production.
Finally, it is impossible to talk about this film without mentioning, and praising, Rick Baker. Baker won the first ever, Academy Award for special effects make up for the film, and rightly so. For the first time in movie history, the transformation from man to werewolf looks, well, almost plausible, kind of biological, and totally painful. And I am talking massive amounts of pain here - gut wrenching, head-splitting pain. The effects sequence for David's first transformation has got to be one of the most memorable movie moments, well, ever.
The sound of bones breaking and re-fusing, and muscles stretching and tearing, and the way his body stretches and convulses is the stuff of nightmares, really entertaining nightmares, the kind you want to pause, rewind, and watch in slo-mo, frame-by-frame. But the amazing visual effects don't stop here. The “zombification” of Jack is also expertly crafted, and it actually looks like a reductive process. All too often, especially in earlier genre films, the application of the zombie make up would make the actor look bigger, or more bulky, but in An American Werewolf, Jack actually looks like a decaying, walking corpse by the end of the film.
The craftsmanship of all involved makes An American Werewolf in London an exemplary genre film. When I hear the phrase “they don't make them like they used to,” this is one of the films that pops into my head. It is genuinely funny without being self-referential or basted in hipster irony. It is also creepy, and possesses some genuine scares. It is well written, and the actors' commitment to the material is astounding. John Landis directs with the hand of a mature filmmaker, and Rick Baker's effects work is out of this world. It is an example of a film where all the pieces come together, in perfect harmony, to create a memorable and entertaining experience.
