Dr. Wilfred Glendon (Henry Hull) is in Tibet searching for the rare mariphasa plant that apparently only blooms under moonlight. Upon finding the plant his joy is obvious but it’s quickly short lived as he is attacked by a half-man half-wolf type creature. He manages to fight off the creature but it does draw blood before retreating off into the mountains. Back in London, Glendon works tirelessly to get the plant to bloom under artificial light, neglecting his wife Lisa (Valerie Hobson) in the process. But that’s not the only worry he has to contend with, with the arrival of the mysterious Dr. Yogami (Warner Oland) comes news of lycanthrophobia and the true value of the mariphasa plant…….
The names Universal Studios and Werewolves go hand in hand {or paw in paw if you like}. Automatically images of a pained Lon Chaney Jr howling at the moon come quickly into the conscious, yet quite some years earlier Universal had already ventured into the realms of lycanthropy. Firstly they had offered up The Werewolf, a silent short film in 1913 that sadly is thought to have long been lost in a fire in 1924, and then in 1935 they released Werewolf Of London. The first mainstream werewolf picture and first to feature anthropomorphic werewolves. It can’t be understated just how important Werewolf Of London is in the pantheon of Universal classic horror. It also helps that it is also happens to be a rather fine picture in its own right. Interestingly blending the werewolf legend with science fiction elements, its script is intelligent, the scenic sets impressive and director Stuart Walker keeps it taut and suspenseful.
In spite of what you may have read on some internet sites, the cast deliver the goods, particularly Henry Hull who it should be remembered is playing a vastly different type of werewolf to the one Chaney would play six years later. This is after all a wolf-man who pops on his hat and cloak and strides out into the dimly lit night. Hull also comes up trumps with the emotional aspects of Glendon. Observe the expressive acting as Glendon’s cat turns against him, the hurt and then the horrific realisation of what awaits him is vividly portrayed during one heartfelt scene. Another sees Glendon proclaim “Singularly single, madame. More single than I ever realised that it was possible for a human being to be,” this is fine stuff delivered with style and emotion by the well spoken Hull. The support is very tidy from Hobson, Oland, Lester Matthews and Lawrence Grant, but they are unsurped by the comic relief that comes in the form of Ethel Griffies & Zeffie Tilbury as batty bints, Whack & Moncaster. A right couple of old dears who stick their noses in where they shouldn’t and enjoy knocking each other out! I kid you not. Yet perhaps surprisingly this humour sits easily within the structure of the story. Another testament to the good work done by all involved. While rounding out the treats is the make up work from pioneer supreme, Jack P Pierce {AKA Janus Piccoulas}.
This is not one for the boo jump scare brigade, or even for those after a bit of old fashioned blood letting. This is tight story telling with a good production and acting to match. Twas a pleasant surprise indeed
