While hiking though the English moors, Americans David and Jack are attacked by a wolf-like beast that kills Jack and wounds David. In a London hospital, David is befriended by Alex, an attractive nurse, and visited by the undead Jack. David is told that he is doomed to become a werewolf at the next full moon, but David ignores the warning. When the full moon arrives, David becomes a werewolf and savages several Londoners. He wakes up naked in a zoo with no memory of what happened. Jack re-appears, with the ghosts of David’s recent victims, to urge David to kill himself and end the curse. Unable to do it, David attempts vainly to have himself arrested, then transforms again and causes havoc in Piccadilly Circus. Alex attempts to appeal to the man within the beast, but it lunges at her and is shot dead by police.
With as much monkeying-around as his movies frequently display, it should come as no surprise to John Landis fans that one of his earliest inspirations as a filmmaker was the original 1933 version of King Kong. The man behind such carefree comedies as Animal House, Landis has also helped to blur the lines between comedy and horror with such efforts as An American Werewolf in London and Innocent Blood, in addition to crafting such fine-tined social satire as Trading Places.
Born in Chicago in August of 1950, Landis originally worked in the mailroom at Fox and later as a stuntman before making a name for himself as a director. Landis was in his early twenties when he decided it was time to make a feature, and after a brief flirtation with the idea of crafting an underground porn film, the aspiring director raised the funding needed for his directorial debut from family and friends. The result of his tireless efforts was the relentlessly juvenile but infectiously silly Schlock… read more
La primera vez que la vi me desconcertó su mezcla de terror y comedia y la subestimé. Vista nuevamente, debo admitir que me pareció fantástica, que utiliza el humor para hacer a sus protagonistas más empáticos y así, estremecernos más con las mutaciones que atraviesan a lo largo de la historia. Hay momentos antológicos como arroz; mis favoritos: La secuencia de David en el Zoo y la tertulia en el cine porno.
Landis' mix of horror and comedy was such a novelty in 1981 and surprisingly stands up pretty strong viewing now. The makeup effects were revolutionary but it was the script and wry sense of humour that mad it so memorable. A film that understood its pedigree with dialogue that really sung. A shame that neither Naughton or Agutter's careers really shone after this one.
An American Werewolf In London, my retrospective.
by Steve Dziedziak
Overview: I think we can all agree that John Landis’ American Werewolf in London is the quintessential werewolf movie… read review
Hoy día vivimos una avalancha de remakes de grandes películas de terror de los 70 y los 80: en 2007 vimos el regreso de La última casa a la izquierda (The Last House on the Left), original de 1972… read review
Never have horror and humor been balanced so well as in An American Werewolf in London, a revivalist hit that there is an ample supply of both laughs and chills. In many ways, John Landis crafted an… read review