 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Feb 9, 2001 - 7:19 AM
|
|
|
|
By: |
Thor
(Member)
|
On display here is John Landis' trademark dark comedy that has graced most of his films. Perhaps more clearly here than anywhere else(?).
While there are certain flaws in the acting department, the editing is one of the highlights. I'm particularly thinking of the many climactic scenes, in which - rather than visualizing the violent turn-out - Landis immediately cuts to other "scream"-like noise sources that work as replacements - a ringing telephone, a passing subway or a roaring lion.
The balancing of straightforward comedy (like the goofy police sidekick) and regular horror/drama is very well executed and timed.
Although Rick Baker's work is impressive at times (such as the famous transformation scene), the producers were obviously aware of the limited credence the creature would acquire if they showed it in full size (this was way before CGI, you know) so they wisely shot the werewolf scenes in rapid close-ups (with a few exceptions). This, of course, can also be more frightening (the claustrophobic minimizing of screen space).
----
Elmer Bernstein's tongue-in-cheek score is not really allowed to shine in this movie due to the amount of pop songs (all with a "commenting" function, of course, such as "Blue Moon").
But I noticed, in particular, Bernstein's raw scoring of David's nightmares (in which he's running through the forests). Straightfaced orchestral, percussive and primal outbursts added to not-too-convincing scenes.
The thing to note about the music in general, though (and I'm thinking about the pop songs), is their contrasting function. Landis constantly reminds us that we shouldn't take this too seriously. Nowhere is this more clear (SPOILER AHEAD!!!) than the final scene in which David is shot and killed (no silver bullets?). It's a really emotional scene suddenly killed by the end credits with a goofy, upbeat rendition of BLUE MOON.
|
|
|
|
|
|
|
I remember reading an interview with Landis, wherein he said that there was a religious conspiracy against this movie's soundtrack. First he tried to use Bob Dylan's supernaturally cheezy version of "Blue Moon". But Dylan refused permission because of the satanic subject-matter. Then Landis tried to use a tune called "Moon Shadow" by Cat Stevens. But Stevens also refused permission for a similar theological reason. Although it's interesting to note that some years afterward, Cat Stevens himself was magically transformed into a psychotic Islamic fundamentalist werewolf.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
