I gotta be honest, werewolf movies really aren’t my cup of tea. There’s something about them that just strike me as kind of silly, but I guess that can be said about a lot of classic monsters. One of the most iconic werewolf films is John Landis’ horror/comedy An American Werewolf in London. Over the years this film has become known as a cult classic due to its wit, blending of genres, and it’s outstanding practical special effects. Like many horror movies that have come before and after, a sequel was released, An American Werewolf in Paris, years after the original. This one has received the opposite kind of attention and it seems that people just want to forget about it. Today, I’m going to be looking at both of them and giving my own thoughts.
Let’s start with John Landis’ original film from 1981.
David (David Naughton) and Jack (Griffin Dunne) are two American college students backpacking through England. After being warned by locals to “beware the moon” and “stay on the road,” the two end up getting lost and attacked by a large animal. Jack is killed and David is injured, waking up in a hospital three weeks later. At the hospital, David meets nurse named Alex (Jenny Agutter) and the two form a relationship with David eventually staying at her apartment. Throughout this time, David is plagued with bad dreams and is getting visits from Jack’s slowly decaying corpse who explains that he has been infected with the werewolf’s curse, and if he doesn’t die then all of the werewolf’s victims are doomed to walk the earth in limbo and more people will die because of David. David doesn’t know what to believe until the night of the full moon when he first transforms into a werewolf and begins a bloody spree throughout the city of London.
Horror and comedy often time go hand in hand. When I’m watching a really scary movie and something just frightens me more than I thought it would, I often find myself laughing at both myself and the incident that happened onscreen. This is why horror/comedies also blend dark humor and horror so well. An American Werewolf in London is one of the classics of the horror/comedy genre. This is a very lighthearted movie and at no time does it ever really take itself too seriously. Even when things do start getting more intense towards the end, the film adopts this over the top brutal slapstick that is more funny then actually scary. What is taken very seriously, however, is the outstanding make up and special effects work. Rick Baker, who previously worked on Star Wars, does amazing work with the famous transformation scene and also creating monsters and walking corpses that appear throughout the movie. Baker’s also the first person to win the Academy Award for Best Best Makeup and Hairstyling, which was a new award the year of this film’s release.
With all of the cool werewolf effects and dark humor at the forefront, there are some elements that get pushed aside. For one thing, the characters in the movie are nothing all that special. David and Jack are both fine characters, but what’s really memorable about them is the situation they’re in. The ending of the movie also can define the term “anti-climactic.” While I was being critical of how the story was being told with some scenes not seeming to go anywhere in particular, I had time to admire how much like a classic Universal monster movie An American Werewolf in London felt like. Everything from the foggy countryside to the pub in the beginning with the cautious villagers to the relationship that grows between David and Alex. You can really see how much John Landis was inspired by those movies to create a classic of his own.
An American Werewolf in London has become a shining example of horror/comedy and the work that can be achieved with practical special effects. It’s a darkly funny story of a fish out of water that also happens to be a werewolf. I only wish that the story could have been tightened up a little bit and the ending made into something more memorable. Still, any fan of horror movies or even comedies will have a lot of fun with this film and see why it’s considered a modern cult classic.
Final Grade: B+
Sixteen years after the release of An American Werewolf in London, the sequel titled An American Werewolf in Paris was released and was met with pretty overwhelming negative results. After seeing it for myself, I’m comfortable jumping on that bandwagon.
Andy McDermott (Tom Everett Scott) and his two friends are traveling Europe looking for excitement and girls. When the trio arrive in Paris, Andy chooses the Eiffel Tower for his next base jumping stunt and ends up saving a woman, Sérafine (Julie Delpy), from jumping off and killing herself. After this heroic act, Andy and Sérafine get more involved with each other, but the relationship gets more than a little complicated when it is revealed that she is a werewolf who, along with her step father, has been working on a cure for their curse. On the opposite side of Sérafine are a group of werewolves, led by the vicious Claude (Pierre Cosso), who want to reverse engineer the cure and use it as a way to transform anytime they want to.
Compared to the original film, this one is completely outrageous. The positives of An American Werewolf in London that helped it become a cult classic is its charm, simplicity in story, and the remarkable practical effects. All of this is completely absent in An American Werewolf in Paris. This film has all the charm of a bargain bin sex comedy and special effects that are guaranteed to cause belly laughs. It’s hard to even call this movie a sequel because at first glance, there’s nothing to really connect it to the original film. It was only after reading up on the film a little bit did I realize there’s an absurd connection that is teetering a very fine line of making sense. What we have here is more of an absurd remake than an actual sequel, but calling this a remake would be an insult to the original. My best guess is that this movie is simply a cash grab that’s riding on the name and popularity of Landis’ classic.
There really isn’t a whole lot to say that isn’t painfully obvious once you actually watch the movie. I’m not sure who thought that the idea of making the plot to this movie as contrived as it is was a good idea, but they couldn’t have been in their right mind. Amongst all of the negativity, I will say that Tom Everett Scott and Julie Delpy seem to be doing their best, but a lot of the lines they deliver that’s meant to be funny are cringe worthy at best. When people finally do start turning into werewolves, which feels like forever with the “character building” scenes, they aren’t anything impressive at all. In fact, the look unfinished and out of place. There are a few instances of practical effects which are welcome, but they’re so few and far between.
The bottom line is that this isn’t a movie anyone should see even if they are fans of werewolf movies. It takes the same ideas as John Landis’ film and presents them in a much weaker way without the wit and charm that should come with a movie that’s related to An American Werewolf in London. Just stay away from An American Werewolf in Paris and your brain cells have a better chance of staying intact.
Final Grade: D
There you have it. An American Werewolf in London is a cult classic that deserves all of the praise it receives whereas the sequel is a disaster disguised as a horror/comedy. Like I said before, I’m not a huge fan of werewolf movies, but An American Werewolf in London is just too much fun to pass up.