By LEE GAMBIN (Centipede Press; 2018)
Another in Centipede Press’s irresistible “Studies in the Horror Film” series, this one devoted to Joe Dante’s THE HOWLING. I’ve admittedly always found this “classic” overrated, which explains why my biggest problem with this study is all the superlatives lavished on the film by author/editor Lee Gambin (“impressive,” “remarkable,” “brilliant,” “skillful,” “mesmeric,” “wonderful,” “exquisite,” “delectable,” etc.). Other than that, though, my complaints are few, as this is as good a book on THE HOWLING as anyone could possibly desire.
The book commences with a short forward by the film’s headliner Dee Wallace, who writes that “I was blessed to be a part of this company of creators so early in my career. And yes, I would do it all again…” From there Gambin offers a scene-by-scene examination of THE HOWLING from its opening credits to its final moments. In contrast to many other books of this type, Gambin thankfully refrains from getting bogged down in technical or sub textual minutia (meaning he doesn’t analyze every camera angle to death or deconstruct the material to find hidden meanings).
Nestled amid Gambin’s descriptions are extensive quotes, taken from interviews with THE HOWLING’S principal cast and crew. Among the interviewees are Dante, producer Mike Finnell, screenwriter John Sayles and actors Dee Wallace, Dick Miller and Belinda Balaski, all of whom contribute frank behind-the-scenes recollections (noticeably absent from the line-up is makeup effects creator Rob Bottin, whose contributions, as everyone involved seems to agree, were crucial to the film’s success).
THE HOWLING, for those who don’t know, was a low budget werewolf-themed horror movie from 1981. The fact that it appeared the same year as AN AMERICAN WEREWOLF IN LONDON was hardly accidental; in the words of production associate Donald P. Borchers, “I doubt THE HOWLING (would have been made) by AVCO Embassy if AN AMERICAN WEREWOLF IN LONDON wasn’t already being made…there was definitely an attitude inside the corporate offices of chasing a big studio picture.” It was based on a novel by Gary Brander that nobody on the production apparently liked; according to co-screenwriter Terence H. Winkless, “I think it was just the title that Joe and Mike wanted. They bought the title and that’s really it!”
Other things we learn about THE HOWLING’S production include the revelation that Dee Wallace wasn’t acting in her many depictions of fear and vulnerability, that several actors refused to wear the thick werewolf contact lenses required in one scene, and that despite the film’s enormous success Dante has never been properly compensated. Further revelatory info is provided about the groundbreaking special effects and conceptual design, complemented by a wealth of excellent quality stills and reproductions of production sketches and other ephemera, making for a volume that looks as a good as it reads.
One more thing: this book’s print run, as is the case with most Centipede Press publications, is limited to around 300 copies, so if you’re at all interested in buying one you’d best do so ASAP!