After a new neighbor moved into the house next door, Charley discovers that he is an ancient vampire and goes in search for the help of Peter Vincent, a famous "vampire killer" to save his neighborhood from the creature.
Lawrence Talbot's childhood ended the night his mother died. His father sent him from the sleepy Victorian hamlet of Blackmoor to an insane asylum, then he goes to America. When his brother's fiancée, Gwen Conliffe, tracks him down to help find her missing love, Talbot returns to his father's estate to learn that his brother's mauled body has been found. Reunited with his estranged father, Lawrence sets out to find his brother's killer... and discovers a horrifying destiny for himself. Someone or something with brute strength and insatiable blood lust has been killing the villagers, and a suspicious Scotland Yard inspector named Aberline comes to investigate.Written by
This is Benicio Del Toro's second time playing a "wolfman". His first feature film role was that of a "dog-faced boy" in Pee Wee Herman's Big Top Pee-wee (1988). Both films had music scored by Danny Elfman, and were slammed by critics as weaker imitations of earlier films. See more »
Sir John describes St. Columbanus as a gypsy from the East, but in fact St. Columbanus was Irish and founded one of the first monasteries in Scotland (on Iona island), one of the most important in Christendom. See more »
The planet in the Universal logo glows white. See more »
The Unrated Director's Cut includes additional scenes not seen in the theatrical release:
The Universal logo at the beginning of the film is the 1940's logo used in the original "The Wolfman"
Ben Talbot's death is slightly longer.
An entirely new sequence showing Lawrence Talbot performing in a London play. Gwen Conliffe visits him in his dressing room post-show and interrupts a party to inform him that his brother Ben has gone missing. Lawrence dismisses her by saying that he cannot help as he is contracted to do 30 performances and is leaving for the States in the morning. This sequence creates an anachronism/goof later in the film as instead of mentioning her visiting him in London, Lawrence continuously references a letter that Gwen sent him which brings him to Blackmoor (as seen in the theatrical version).
As Lawrence travels by train to Blackmoor, there is a scene with an uncredited Max Von Sydow as an old man who gives Lawrence his silver wolf-head cane as protection (the cane that Sir John Talbot wields at the end of the film).
The tavern scene is slightly longer. After MacQueen's "melted down me mum's silverware" story, the villagers scoff at the notion of the killer being a werewolf, and blame the Talbots' misfortune on their dealings with the gypsies. One of the villagers calls Lawrence's late mother a "crazy gypsy whore", and Lawrence angrily confronts him and throws a drink in his face. After Lawrence is kicked out of the tavern, the villagers realize his identity.
When the posse fires into the hole after MacQueen's arm is ripped off, a rifle slug nails MacQueen in the chest, killing him. Additionally, there are a number of deleted and extended scenes:
After his attack, Lawrence has a short conversation with Gwen where she blames herself for the tragedy that has befallen the Talbots. Lawrence looks out the window and sees the posse that has come to round him up and tells Gwen to get his father while he goes outside to talk to them (the "you bear the mark of the beast" scene)
Lawrence's conversation with Singh is slightly longer. After Lawrence asks him why he never left Blackmoor, Singh explains that Sir John saved his life many years ago and that as a result he vowed to stay by his side.
The mausoleum transformation scene is slightly longer.
The London chase scene is longer. The Wolfman walks into a costume party / opera performance and is mistaken for a costumed patron. He attacks one of the patrons but is chased off by Aberline and his men.
Additionally, the Wolfman crashes a puppet theater performance in a park and kills the puppeteer. Aberline chases him out of the park and into the path of a steam engine (as seen in the theatrical version).
The final fight is slightly longer and sequenced differently than the theatrical version.
Every once in a while, a movie comes along with what many people would call perfect casting. I remember when Jack Nicholson was first cast as the Joker for Tim Burton's Batman. Nicholson's portrayal was just what was expected from such a great actor in a signature role. But it was NO MORE than we expected from him. In a way, one could say it fell a little flat. Well, I feel that way about The Wolfman. First, Anthony Hopkins, one of the consistently best actors out there, gave the exact performance I would expect from him, commanding respect both as an actor and as the character he played. But it was nothing we haven't seen already. Reminiscent of Meet Joe Black or Fracture or Instinct. I'm also a fan of Benicio Del Toro, but his brooding and emotional performance was exactly what I went to the theater to see. I didn't see anything more. The same could be said for the script, a very straightforward storyline that was a bit predictable and sort of tired. On one hand, I commend the film makers for not overdoing the story with convoluted twists in an effort to be "original." But again, I wasn't surprised by anything in the storyline at all.
I was anxious to see this film, and overall I was very pleased with the cinematography, the performances of the cast and of course the special effects. But I did not leave the theater saying "WOW, that was even better than I expected!" like I had hoped I would.
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