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The Wolfman
Throughout the film, various villagers recite a poem that all the locals apparently know, whenever the subject of werewolves comes up:
Even a man who is pure in heart
and says his prayers by night
may become a wolf when the wolfbane blooms
and the autumn moon is bright.
The poem, contrary to popular belief, was not an ancient legend, but was in fact an invention of screenwriter Siodmak. The poem is repeated in every subsequent film in which Talbot/The Wolf Man appears, with the exception of Abbott and Costello Meet Frankenstein, and is also quoted in the later film Van Helsing, although many later films change the last line of the poem to "And the moon is full and bright".
The original Wolf Man film does not make use of the idea that a werewolf is transformed under a full moon. Gwen's description and the poem imply that it happens when the wolfbane blooms in autumn. The first sequel, though, made explicit use of the full moon both visually and in the dialog, and also changed the poem to specify when the moon is full and bright. Presumably this is what popularized the full-moon connection in the 20th century. The sequel visually implies that the transformation occurs as a result of direct exposure to light from the full moon. Other fiction has assumed the transformation is an inescapable monthly occurrence and does not examine whether it is caused by light, tidal effects, or some cycle that happens to coincide with the moon's phases.
The Wolf Man proved popular, and so Chaney reprised his signature role in four more Universal films, though unlike his contemporary "monsters," Larry Talbot never enjoyed the chance to have a sequel all to himself. Frankenstein Meets the Wolf Man (1943) had Talbot’s grave opened on a full moon night, causing him to rise again (making him, in the subsequent films, technically one of the undead). He seeks out Dr. Frankenstein for a cure, but finds the monster (Bela Lugosi) instead. The two square off at the climax, but the fight ends in a draw when a dam is exploded and Frankenstein’s castle is flooded. In House of Frankenstein (1944), Talbot is once again resurrected and is promised a cure via a brain transplant, but is shot dead with a silver bullet instead. He returns with no explanation in House of Dracula (1945), and is finally cured of his condition. But he was afflicted once again, in the comedy film Abbott and Costello Meet Frankenstein (1948). This time the Wolf Man is a hero of sorts, saving Wilbur Grey (Lou Costello) from having his brain transplanted by Dracula (Bela Lugosi) into the head of the Monster (Glenn Strange). Grabbing the vampire as he turns into a bat, the Wolf Man dives over a balcony into the sea.
It was The Wolf Man that introduced the concepts of werewolves being vulnerable to silver (in traditional folklore, it is more effective against vampires), the werewolf's forced shapeshifting under a full moon, and being marked with a pentagram (a symbol of the occult). These are considered by many as part of the original folklore of the werewolf, even though they were created for the film. Unlike the werewolves of legend, which resemble true wolves, the Universal Wolf Man was an extension of the previous 1935 Werewolf of London in which both primary characters are a hybrid creature unlike the traditional interpretation. The Wolf Man stood erect like a human, but had the fur, teeth and claws and savage impulses attributed to wolves in folklore.
The Wolf Man is one of three top-tier Universal Studios monsters without a direct literary source. The others are The Mummy and the Creature from the Black Lagoon.
The Wolf Man is one of three top-tier Universal Studios monsters without a direct literary source. The others are The Mummy and the Creature from the Black Lagoon.
