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1979 horror finds five friends, Molly (Jocelyn Jones), Becky (Tanya Roberts), Woody (Keith McDermott), Eileen (Robin Sherwood) and Jerry (Jon Van Ness) breaking down in the middle of nowhere and making their way to a strange off-road museum. The now closed attraction is run by kindly Mr. Slausen (Chuck Connors) a widower who lives there with his brother Davey. What he fails to mention is that Davey is a doll-face mask wearing psycho who has telekinetic abilities and likes to turn people into mannequins. A minor detail, of course.

Charles Band production is directed by David Schmoeller from his script with J. Larry Carroll. It’s actually a creepy and disturbing little movie, despite the silly story. The scenes of telekinesis are handled about as well as could be and are effective as the already creepy mannequins seem to come to life. It’s no secret as to who “Davey” really is, the voice gives it away, but we go along with it anyway. Once we get the reveal it makes one wonder how he got around so much, but the goings on are creepy enough to entertain regardless. The film is PG, so there isn’t a lot of bloodletting, but it is violent and the death scenes have impact and it is yet another example of how much PG flicks got away with in the 70s. The minimal locations are effective, with the rooms filled with spooky dolls and mannequins, giving the film a lot of atmosphere, especially as captured by Nicholas von Sternberg’s lens. The film has a spooky score by the legendary Pino Donaggio, moves along well at just under 90 minutes and there are some nicely uncomfortable moments to chill us.

The cast of young attractive faces, including a pre-Charlie’s Angels Tanya Roberts, are fine in their roles as killer fodder. Jocelyn Jones makes a sweet girl-next-door, final girl as Molly and veteran actor Chuck Connors making for a disturbing psycho…which is no spoiler as we know from moment one, there really isn’t a “Davey.” A very unusual role for this veteran actor, but he totally goes for it and succeeds in creeping us out!

In conclusion, this is a very 70s, yet still very effective horror. Despite some silly story elements, such as the powers of telekinesis, the film is creepy, disturbing and atmospheric. It has a veteran actor giving us the willies in a very uncharacteristic role and a likable enough group of young characters/actors as his prey. It has some unsettling imagery and some effective deaths and is certainly worthy of it’s cult classic status.

-MonsterZero NJ

Rated 3 (out of 4) mannequin heads.









MAJOR SPOILER WARNING! In order to properly compare these two films, I have to give DETAILED SPOILERS. If you haven’t seen The Howling or An American Werewolf In London, there are MASSIVE SPOILERS BELOW for each film. You have been warned!


Previously, I’ve made such comparisons such as David Robert Mitchell’s It Follows and John Carpenter’s Halloween (link here), the Arnold Schwarzenegger classic Predator with the B-movie sci-fi/horror Without Warning (link here)and the classic Evil Dead and it’s 2013 remake (link here). Now I’d like to compare two classic 80s horror tales of lycanthropy with a look at Joe Dante’s The Howling alongside John Landis’ An American Werewolf In London. These two films were released in the same year, just six months apart and both have revolutionary transformation sequences that changed the world of SPFX make-up at the time. So, let’s take a look…



The Howling opened on March 13, 1981 and tells the tale of intrepid reporter Karen White (the legendary Dee Wallace) who is meeting notorious serial killer Eddie Quist (Robert Picardo). Karen is traumatized by their encounter, one which ends in a hail of police bullets. She is sent by psychiatrist Dr. George Waggner (Patrick Macnee) to his remote retreat in the Northern California woods for treatment, but unknown to Karen, Eddie Quist was a werewolf and that Waggner’s retreat is where he and his pack preside.

An American Werewolf in London opened on August 21st, 1981 and tells the story of David Kessler (David Naughton) and his buddy Jack Goodman (Griffin Dunne), who are backpacking across the English countryside. Despite ominous warnings, they wander onto The Moors and are savaged by a wild beast. Jack is killed, but David survives and is brought to London to recuperate. As he recovers under the tender care of pretty nurse Alex (Jenny Agutter), he soon finds out from Jack’s none-too-happy spirit that he was bitten by a werewolf and will soon become one himself when the moon is full!

Except for both films being about werewolves, the stories are vastly different.




There seem to be two different kinds of werewolves in movies. One is the traditional cursed soul who passes the curse on to another through a bite. This type has heavy origins in the supernatural with it’s appearances sometimes heralded by a pentagram appearing on a potential victim. They transform only during the period of the full moon…depending on the film that may include the night before and night after, as well. Generally they can only be killed by silver, preferably a silver bullet.

The other kind of werewolf is a shape-shifter. These werewolves generally have an origin in Native American or old world European folklore and can change their form at will. They sometimes spread the ability through a bite, are born as such, or transformed through some ceremony or ritual. Their mode of being vanquished vary from conventional weapons to the traditional silver bullet.

The Howling’s werewolves are of the shape shifting variety. They can change at will, night or day, and without the need of the full moon. While they seem to be less supernatural in origin, they still can only be killed by silver bullets and pass the curse or condition on by a bite. They are bipedal creatures with both human and wolf characteristics. They obviously feed on meat, preferably humans, despite Waggner’s attempts at getting them to co-exist alongside mankind and feed on other meat sources.

An American Werewolf in London’s beast is of the more supernatural variety as, for example, the locals were using a pentagram as protection. David is told by Jack’s spirit that he is cursed by the bite of a werewolf and will transform into a ferocious beast when the moon is full. David’s victim’s are doomed to wander in limbo and haunt him, begging him to end his life, so their spirits can be free. David’s wolf is far more animal than human and is a massive beast that travels around on all fours. Oddly, despite being far more supernatural than The Howling’s werewolves, David and his predecessor can be killed simply by conventional weapons, such as guns with normal bullets.




The Howling’s main character, Karen White is a news reporter being stalked by a pack of werewolves at a remote deep woods retreat. For a long time she is unaware of what she is up against and it is friends of hers, Chris and Terry ( Dennis Dugan and Belinda Balaski), who finally figure it out and attempt to warn/rescue her. Karen only becomes a werewolf at the film’s climax and is mercifully killed by Chris during a live news broadcast were she attempts to warn the world that these mythic predators are very real.

An American Werewolf in London’s David is an American tourist in Europe, who is bitten very early in the film and the rest of the movie follows his transformation into a lycanthrope. He is haunted by the spirits of his victims and is in denial at first, until he realizes he is responsible for a string of brutal deaths across London. The reluctant monster is finally put out of his misery by the guns of the London police after a bloody rampage through Piccadilly Circus.

Both characters are likable and sympathetic, suffer from horrific nightmares and at some point fall to the werewolf curse.




The settings for these two film’s are both urban and rural, yet totally opposite as to when those settings come into play.

The Howling opens in the urban jungle of Hollywood Blvd where Karen White is bravely going to meet serial killer Eddie Quist in a porn shop. It then switches to the coastal woodlands of Northern California, when Karen is sent to Waggner’s retreat, which is actually a sanctuary for werewolves. Here director Joe Dante is able to use shots of moonlit and fog-shrouded woods to keep the atmosphere spooky.

An American Werewolf in London opens in the rural marshlands of Yorkshire where David and Jack encounter the werewolf which curses David. It then switches to urban metropolis of London where David transforms into a beast and terrorizes the city. Ironically, at one point, he meets the spirits of Jack and some of his victims in a porno theater, echoing Karen’s meeting with Eddie. Unfortunately, 1981 London isn’t quite as spooky as The Moors of the opening, thus giving The Howling a distinct edge in the atmosphere department.




The Howling starts off with intrepid reporter Karen White meeting with serial killer Eddie Quist in a porn shop peep booth. The police are tracking her and only by chance arrive in time as he starts to transform. He is killed…or so we believe…and poor Karen is traumatized. She is then sent to a backwoods retreat run by Dr. George Waggner only to find out she’s been dropped in the wolves den, literally. The opening is creepy, disturbing and sets the tone for the rest of the movie.

American Werewolf’s opening sequences are just as effective and probably the scariest part of the film. Here we meet American backpackers Jack and David who wonder into a local pub and get a very cold reception and some very ominous warnings. Despite what they are told, they wonder onto The Moors and are attacked by some form of savage beast. Jack is killed and David barely escapes with his life thanks to the arrival of those same locals, armed with guns. Before he passes out, David sees that their now dead attacker, is a bullet-ridden human. Once back in London, the real nightmare begins for the cursed young man.

Both openings work in setting us up for what is to come, starting us off with an atmosphere of fear and foreboding. Howling does it by letting us know something is very wrong with Eddie Quist, aside from being a psychotic killer, but keeps exactly what a bit ambiguous. American Werewolf  utilizes the classic werewolf set-up with an American in a strange land getting bitten and being cursed.




The Howling’s Pretty heroine is finally bitten as she and Chris are the only ones left alive after a fiery confrontation with Waggner’s pack of lycanthrope. Karen uses this unfortunate turn of events to try to warn the rest of the world and makes a tearful plea to a live television audience. She presents the horrible truth by turning into a werewolf in front of the TV audience before being shot by Chris. The film ends with varying reactions to what happened and the frightening revelation that Eddie’s nymphomaniac, werewolf sister Marsha (Elizabeth Brooks) escaped the conflagration at the retreat and is now in L.A. The ending has some humor to it, but is still effective.

American Werewolf’s ending is a bit simpler. Transforming into a wolf in the middle of London’s, Piccadilly Circus, David goes on a bloody rampage, that causes complete chaos and bedlam. Alex arrives just at the time the London Police trap David in an alley and gun him down. The last shot is a tragic one of David’s bullet-ridden body and Alex’s tearful face as we cut to the credits. Director John Landis lightens up the somber mood by having the song Blue Moon playing on the soundtrack as the credits role. The ending is a bit abrupt and the song does neuter the power of the last shots, unfortunately.




Both of these flicks are considered classics for many reasons. Both are gory and have a sense of humor and feature their own twists on the classic werewolf tale. The Howling was based loosely on a book by Gary Brandner, while American Werewolf seems to be more of a modern spin on the classic The Wolfman with Lon Chaney Jr. The soundtracks are both written by acclaimed composers, with The Howling’s by Pino Donaggio and American Werewolf’s by Elmer Bernstein. Robert Paynter did the impressive cinematography on Werewolf, while The Howling’s lush visuals were filmed by John Hora. As for the amazing transformations scenes, The Howling’s scenes was done by legendary FX man Rob Bottin and Werewolf’s by equally legendary Rick Baker. Both are impressive with Baker’s having the advantage of a larger budget, but is far shorter, where Rob Bottin’s is lengthy, a little more rubbery and goes over the top in many ways. They are both fun and were groundbreaking at the time and are still effective even today.




In this case it’s up to the individual to choose a favorite. Both films have gained equal status as classic horrors and despite each having their own identity, they both feature sly senses of humor and great make-up FX work to enhance their classic werewolf tales. Personally, The Howling has always been my favorite and it’s only by personal taste that it is. I find it more atmospheric and I prefer the satirical sense of humor over the dryer humor of AWIL. I like Bottin’s over-the-top transformation better, prefer the bipedal werewolf to the four legged wolf beast and Dee Wallace made for a sexy girl-next-door heroine to howl over. The Howling is more in the Roger Corman style of film-making, including a cameo from the master producer, whereas American Werewolf is more of a mainstream studio flick. I also find The Howling simply to be spookier and more fun. Either way these are two classics that have earned their reputations equally.

-MonsterZero NJ

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