It's Fur Coat Season - But Not THIS Kind! It's the "Curse of the Werewolf" -Tonight!

Posted on February 8, 2025

Tonight on MeTV, it’s some singular Hammer horror, featuring the famed studio’s only werewolf film of its classic era- in which a young Oliver Reed progresses from strange childhood maladies to an adulthood plagued by the "Curse of the Werewolf"!

We return to a time centuries ago, to observe a small Spanish town- where an amiable beggar is confused by finding the town seemingly deserted, with its streets empty. He wanders into a tavern where he finally finds some of the local folks. They explain to him the reason why they are laying low- because today is the day that the despicable and heartless nobleman who rules the town- the Marquis-is getting married and hosting a celebration inviting only his fellow crass aristocratic associates to his estate. The citizens feel it is wise to avoid any chance of raising his ire.

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The beggar, however, thinks hitting up the wealthy might benefit him and foolishly heads right to the estate. Ushered into the celebration, he finds himself immediately mocked and treated cruelly and derisively used as entertainment for the Marquis and his guests. Just as it seems like this torture is about to end, the poor soul makes an ill-timed remark, which infuriates the temperamental Marquis. He has him tossed into the dungeon, where he spends years in a dank cell, completely forgotten by the cruel ruler. His mind and body slowly deteriorate, with his only comfort coming from the kindness of the mute daughter of the jailer.

As years pass, the girl blossoms into a beautiful woman-while the beggar has devolved into a mad, animalistic wretch. The years have not made the aged marquis any kinder either- and, when the lecherous old coot spots the gorgeous woman and, unaware that she cannot speak, tries to take advantage of her. The poor woman fights back- which leads to her being thrown into the same cell as the now crazed beggar- with horrid consequences.

When she eventually manages to escape the cell, she flees into the woods, running until she collapses– only to be found, fortunately, by a kind and learned man-Don Alfredo. The gentleman brings her to his home to be cared for, and, as his housekeeper tends to the mute beauty, they discover -she is with child! As the time of birth nears, the housekeeper is worried by old folklore that states a child conceived in such a tragic way, if born on Christmas, is considered an aberration to God, and would be in for a life inflicted with some nameless evil. As if to fulfill this foreboding prophecy, the child is indeed born on this holiest of days!

Regardless of any of this folklore, the good-hearted and generous Don Alfredo raises the child as if he were his own son. As the boy Leon grows, he begins to show some odd -even frightening- tendencies - and when the torn apart bodies of livestock are found, seemingly attacked by some brutal animal, Don Alfredo has reason to believe that Leon may unfortunately be involved.

Prayer and kind treatment help Leon get past the strange occurrences of his childhood, as he matures into a handsome young adult. He heads out into the world to make his own fortune, feeling he has left his troublesome past behind, and finds his first employment bottling wine in the cellar of a vintner. He finds himself attracted to his employer’s young daughter who, unfortunately, is already spoken for by a pompous young aristocrat. And yet- she seems to prefer Leon, though it is forbidden since she is promised to another! Leon’s roommate, a happy-go-lucky co-worker, convinces him that the way to forget about his troubles of the heart is by heading to a local tavern that is loaded with drinks- and women.

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It turns out not to be the cure for Leon’s unhappiness, which is only made worse by excessive drinking- and when the full moon rises it brings about a horrible transformation and deadly consequences. Leon soon is caught between his curse and his love for his employer’s daughter- all of which leads him into unspeakable horror as he realizes that he is a werewolf!

This 1961 film has all the features Hammer is known for- with brilliant color, shocking violence, sultry women, and one of the most unique werewolf make-up designs ever! We will discuss the make-up, and our cast, including young Oliver Reed and the breath-taking Yvonne Romain; and add some Sven fun to lighten the mood. We do want to point out that this film does have some situations that may not be suitable for younger and more sensitive viewers, due to violence and adult themes-so discretion is advised. PLEASE take the warning seriously! Watch for a vintage werewolf song from a past show, and a slight misunderstanding of the movie’s title by the Sven Squad, as well as their Valentine’s Day wishes, a look at some amazing masks, an encore visit with a real sweetheart, the talented voice actress Tara Strong, and some past gags from “Kerwyn’s Corner”!

“Curse of the Werewolf” is on Me-TV tonight at 8 pm eastern/pacific, 7 central, or check for time and channel in your local listings or at www.metv.com. You can live-Tweet on Twitter or post comments on Bluesky along with other viewers during the show - use the hashtag #svengoolie on either one! Chicago viewers should go the extra mile to catch the encore of Ray Harryhausen’s classic “20 Million Miles to Earth” at 11 am on our local channel WCIU, The U.

Just an FYI-we still have our Sven Valentine’s Day items in our store- and you might want to occasionally check our appearances tab here on the website for some upcoming appearances- including a radio appearance on February 22 !

Tonight, though, the full moon will rise, and the fur flies on MeTV!

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52 Comments

 during show

WillyFromPhilly 1 hour ago
Now we all know that Oliver Reed was dying to play the part of
Proximo ( lets call him a Roman
Mr. Haney ) in the awesome film “Gladiator” but dying ON and 0FF the Screen ? Now thats Acting boys & girls !!!
DOCTORLCB 1 hour ago
It is late, I was doing some paper work,
See you soon, Sven Tooners
DOCTORLCB 1 hour ago
Looking forward to Toons and The Three Stoogeee,
I love Curly and his humor.
PARANORMA 1 hour ago
Just want to apologise for the attempt to compliment PatS, so embarrassingly messed up by the ever popular autocorrect. Lo siento. Ya voy.
drummerman56 2 hours ago
Missed it by that much. Well, maybe a bit more than that.
PatS 3 hours ago
IMO the biggest tragedy of this film is the wasting of a noble actor Richard Wordsworth. Listen to his booming Shakespearian voice ("if in the kindness of your hearts...") and notice how little chance he gets to show his talents. This guy did Cassio in "Othello" onstage, plus SONG OF NORWAY and "Nicholas Nickleby" (TV series), but Hammer Studios relegated him to bit parts.
daleuhlmann PatS 3 hours ago
I agree, Pat. That was a shame.
Bill_K 3 hours ago
Early, early day tomorrow.

Good Night, Everyone!
scottieO Bill_K 3 hours ago
Take Care!
daleuhlmann Bill_K 3 hours ago
Good night, Bill!
daleuhlmann 4 hours ago
Who would want to be a werewolf? Think of all that ingrown hair!



Cartoondave daleuhlmann 4 hours ago
Ha dale, I already feel like one with my bushy beard
daleuhlmann Cartoondave 3 hours ago
Ha-ha! I know thar feeling, Dave! 😅
scottieO daleuhlmann 3 hours ago
There could be multiple downsides!
daleuhlmann scottieO 3 hours ago
Yes, extremely "multiple downsides!" 😅
daleuhlmann 4 hours ago
"Did you ever see THE WOLF MAN?” asks David. "Is that the one with Oliver Reed?"' answers Alex.

This conversation between David Naughton's tragic lycanthrope David Kessler and Jenny Augutter's sympathetic Nurse Alex Price in director John Landis' AN AMERICAN WEREWOLF IN LONDON is a fitting homage to Hammer’s classic THE CURSE OF THE WEREWOLF. Fans of werewolf movies and film scholars alike have praised this earlier film for Anthony Hinds’ literate script and Terence Fisher’s stylish direction. This is a memorable account of a werewolf's story from birth to grave. it is also serves as a cautionary reminder of the power of the inner beast that resides within us all.

Although seemingly disconnected from the movie’s plot, its lengthy prologue effectively introduces the story’s animalistic references. In this extended sequence, an eighteenth-century Spanish beggar seeks food and drink at the wedding feast of the Marques Siniestro and his bride. The wicked Marques humiliates him by forcing him to dance for the meager samples he offers him from his sumptuous table. When his kind-hearted bride, the Marquesa, admonishes her husband, he asks her if she would like to have the man as a “pet.” He then calls on him to beg for a bone “like a good dog.” When the beggar makes an oft-handed remark to the Marques, he imprisons him in his castle dungeon, where he is encaged like an animal.

Evidently driven insane by loneliness and confinement, the beggar has undergone, in the meantime, a distinct physical transformation. Besides losing his power of speech and being forced to communicate with others through inarticulate grunts, he is now covered in straggly hair. His fingernails are long and sharp, and he bares his teeth like a canine. He has implicitly become the animal that the Marques had treated him as earlier.

Driven by savage, primitive lust, he rapes his jailer’s mute daughter, impregnating her. After escaping from the castle, she is rescued by a kindly nobleman. He and his housekeeper look after her, but she eventually dies in childbirth, bearing the beggar’s son, who is given the name of Leon. Unluckily for him, he, an “unwanted child," had been born on Christmas Day, which, according to folklore, Heaven considers an insult. Thus, the innocent boy is punished with the curse of lycanthropy.

Leon exhibits signs of his animal nature early on. He wants to taste the blood of a squirrel he has shot, experiences nightmares of being a wolf, mangles his kitten, and tears out the throat of a sheep. Fortunately, his foster parents’ love provides a temporary antidote, but the curse resurfaces when, as a troubled, young adult (played by Oliver Reed), he is denied the hand of a young noblewoman, whose love is his only hope of a cure.

Reed’s intensity convincingly conveys Leon’s inner torment. As film reviewer Scott Ashlin notes, “He LOOKS like a man constantly at war with a barely controllable animal Id.” Leon’s inner beast takes literal form in the film’s climax, by courtesy of Roy Ashton’s unforgettable werewolf makeup. Right from the start, though, the film's narrative has alread laid the groundwork for this movie's powerful and memorable climax.
Bill_K daleuhlmann 3 hours ago
Dale:

Nice Article.
Nice Summary.
Nice Conclusion!
daleuhlmann Bill_K 3 hours ago
Thank you, Bill!
PARANORMA daleuhlmann 3 hours ago
Okay, safe to come back now that the jockeying is over... As ever, a thoughtful & perceptive discussion of both the film and the story being portrayed. Thank you.
daleuhlmann PARANORMA 3 hours ago
Thank you, Paranorma, and you're welcome!
scottieO daleuhlmann 3 hours ago
The mom dies, like a sad segue into a Disney plot.
Nice article, see you at showtime!
daleuhlmann scottieO 2 hours ago
Thsnks, Scottie, and nice Disney analogy!
scottieO 4 hours ago
I took 3rd and 5th place! My brain couldn't keep up with my fingers I guess, ha!
PatS 4 hours ago
CURSE OF THE WEREWOLF is set in Spain (because Hammer Studios took advantage of an existing Spanish set) — so herewith a suitably Spanish-sounding song.

Early 17th Century: Miguel de Cervantes publishes his novel Don Quixote, about a lesser nobleman trying to live out a fantasy of reviving the age of chivalry. It's referenced in other novels such as The Three Musketeers, and spawns imitations, parodies, stage plays, puppet shows, songs, operas and ballets (a prominent one being the 1869 ballet by Ludwig Minkus).

1959: a teleplay by Dale Wasserman, "I, Don Quixote", is broadcast by a major network. 1965: Wasserman revises his play to become a Broadway musical, "Man of La Mancha" which wins five Tonys including Best Musical. There were four Broadway revivals and a 1972 film, plus a 1996 studio recording with Placido Domingo and Mandy Patimkin. The show has been presented around the world in over 20 languages, including nine dialects of Spanish.

The first song after the overture is "Man of La Mancha", which serves to introduce Don Quixote and his squire, Sancho Panza. I'm attaching the version sung by Brian Stokes Mitchell and Ernie Sabella, the 2003 cast album of the 2002 Broadway revival. Words by Joe Darion, music by Mitch Leigh (born Irwin Stanley Michnik) — not particularly Spanish (but so what). The singer would be Don Alfredo, Leon's foster father and the film's narrator.

😮👧🏻😮🐺😮

At his wedding, an evil Marquis has some fun
Hungry beggar's abused, locked away
After both men go mad, a mute girl is the one
Tormented and ravished like prey

-Why do I, Don Alfredo
-Appear in this story?
-I find the poor lass in the wood
-And now I and Teresa
-Are raising her baby
-Born Christmas Day — that's not good

>Motherless tot, handsome lad
>Why does priest think he'll go bad?
========
^I'm Leon, the child Leon
^I'm dreaming of wolves that ramble free
^Pepe shoots a sheep-killer
^Why's this bullet / in my knee?
========
Leon grows to a man, goes to work making wine
Hope his childish obsessions are past
Boss's daughter Cristina has smile that's divine
And payday is coming at last

-My, oh my! Full moon shining
-Girls dancing, boys drinking
-But Leon's wolf curse must break through
-He flees home to my rancho
-There's talk of three murders
-What should a gentleman do?

>Priest and Cristina can't cure
>Ending's a sad one, for sure!

www.youtube.com/watch?v=-UUDguFEa5E
daleuhlmann PatS 4 hours ago
Perfect song selection for a musical satire, Pat, to fit this movie's period Spanish setting! 🎵🎶
PARANORMA PatS 2 hours ago
Otra cancion perfecta!
"Brava and good cheer
To our grand ballads,
Ride on to a glorious lice..."
PARANORMA PatS 2 hours ago
LIFE!!! (LOL)
Or so the Inkeeper *might* have said...
DOCTORLCB PatS 2 hours ago
MOY BIEN
DOCTORLCB DOCTORLCB 2 hours ago
Oops, I mean, moy nien, very good.
Bill_K 4 hours ago
Good Morning, Everyone:


Going into 1961, Hammer Studios found itself in the same position Universal did 25 years earlier. By 1936, Universal had made two major horror films, each with a successful sequel, and then by creating a third classic monster as well. Hammer had their own versions of Karloff and Lugosi, as well, with one or both being responsible for the success of these five films. The studio may not have faced the same censorship issues (or at least to the same degree), the threat of overseas banning, or risky financial footing as Universal. It did suffer a serious setback, of its own, when their “Karloff” (Peter Cushing) announced he no longer wanted to appear in horror movies. However, while they were in vogue, they would be turned out as part of a second (post Cushing) cycle. And just like Universal’s second cycle, seeking to create another “horror classic”, and managing to do it with a relative unknown they already had under contract.


The practice at Hammer was to produce two films back to back using the same sets but releasing each with a different feature. When a project, set during the Spanish Inquisition was shut down due to censorship issues, a story based on Guy Endore’s “Werewolf of Paris” would be taking its place in 18th century Spain on those Basque sets, rather than in the author’s own late nineteenth century France. The only condition imposed by the BBFC (British Board of Film Classification) was that no single scene have suggestions of both violence and sex.
.

In terms of atmosphere, color and music, it was classic Hammer horror. What weakened it was the drawn out development of characters and events. It was the story of a child conceived of rape and born on Christmas Day. According to legend, an unwanted child born on this day is cursed. In this 90 minute film, the first third leads up to the child’s birth. Events in young Leon’s life take us past the halfway point of the film. His first transformation as an adult, which we do not see directly, takes place close to the three quarter mark. The climactic sequence is right on top of its ending.


“Curse of the Werewolf”, premiering in Britain May 1st and in the US June 7th, 1961, was not a box office success. Producer Anthony Hinds wanted to combine a love story and a horror film. His screenwriter John Elder (A.k.a.; Producer Anthony Hinds) delivered a script which did just that. However, its padding slowed it down. So many Hammer touches: Leon’s birth preceded by a wolf’s howling, the water in the holy fountain bubbling during his Baptism, the face of a gorgon reflecting in those waters, the story beginning with a beggar in a cell (originally supposed to be a werewolf himself) and ending with one as well. It was disappointing that Reed’s Werewolf, whose image became almost as iconic as Chaney’s, was seen so little in this film.

Despite his signing a contract with Hammer Films, Oliver Reed continued to be unbilled for film appearances. However, when the Studio decided it would remake another major Universal horror film, Reed received his first credited screen role. He would not be trapped in this role (As Lon Chaney had) and would move on to bigger and better features. He became a favorite of Director Ken Russell (appearing in “A Woman in Love” and “Tommy”). Unfortunately, Reed did share one major trait with Chaney – both were alcoholics. The Monsters they portrayed reflected the Actors portraying them – tortured men struggling to keep control of the Beast within them. Alcohol kept Reed from many opportunities, such as succeeding Sean Connery as James Bond, as well as leading to his untimely death.
daleuhlmann Bill_K 3 hours ago
Great article, Bill, touching on the film's weaknesses while noting its importance as a major turning point in Oliver Reed's career. Your conclusion nicely addresses the tragic similarities between Chaney, Jr.'s and Reed's battles with the bottle.
Bill_K daleuhlmann 3 hours ago
Thanks, Dale!
scottieO Bill_K 3 hours ago
Bill K:
"No sax and violin" in the same scene seems kind of a strange restriction.
Very informative and entertaining post. Reed's trouble with alcohol was very unfortunate, indeed.
Drang scottieO 3 hours ago
How about Saxon violins?
scottieO Drang 3 hours ago
"Musicians of the night, what music they make."
PARANORMA Bill_K 2 hours ago
Terrific retrospective. Thanks!
scottieO 4 hours ago
Howl fun it's gonna be to watch another werewolf movie with the blog!
Drang scottieO 4 hours ago
That it will!
Katink 4 hours ago
HALF-MAN... HALF-WOLF... COMPELLED BY THE HIDEOUS CURSE OF HIS EVIL BIRTH TO DESTROY - EVEN THOSE WHO LOVED HIM!
daleuhlmann Katink 3 hours ago
You're just "telling like it is," Katink!
scottieO 4 hours ago
Howl fun it's gonna be to watch another werewolf movie with the blog!
abc123 4 hours ago
A beggar speaks poorly to a Man - “To the dungeon”, Ban! - Fifteen years later he is as an Ape-man

A child born of Sin - Cursed at birth, locked In - His soul of a beast might Win

Finds a job as a Wine Bottler - Falls in love with Bosses Daughter - Nightmares of Slaughter

"I might kill her" Agonize - "Put me to death", Cry - His father helps him Die


Video
https://youtu.be/nVOjo29xf-I
Drang abc123 4 hours ago
A toast to Number One! (And if you check my post, just behind yours, it looks like Oliver has had more than just A toast...)
Katink abc123 4 hours ago
Cool that you are using the stand as part of the art, abc!
scottieO abc123 4 hours ago
Nice artwork as usual. Is that wine dripping from his mouth? "I never drink vine."
Bill_K abc123 4 hours ago
Great Job and a #1 Post.

Congratulations, Howard!
daleuhlmann abc123 3 hours ago
Congratulations, Howard, on being this Saturday's first blogger, and on such a clever fan and verse!
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