by Frank Calvillo
Sometimes movies featuring recognizable stars and an appealing hook are released to favorable reviews and go on to become box office hits, only to be more or less forgotten years later. There’s no question that the 1994 Jack Nicholson/Michelle Pfeiffer-starrer Wolf fits squarely in such a category. Serving as both a werewolf tale and a love story, the Mike Nichols-directed film is an intriguing and sexy dark character study, which also happens to prove itself as a worthy addition to the werewolf genre.
In Wolf, Nicholson plays Will Randall, a middle-aged Manhattan book publisher who hits a large dog with with his car while driving through New England one night. As he gets out to inspect the damage, the animal comes to, bites Will, and then escapes. Will has little time to dwell on the incident since his publishing house has just been taken over by a wealthy conglomerate headed by the powerful Raymond Alden (Christopher Plummer) and his job handed over to his ruthless protege Stuart (James Spader). As he tries to hold his life together, Will can’t help but notice strange changes occurring within him such as sleeping all day, and a hunger for red meat. A chance meeting and strong attraction to the mysterious Laura (Pfeiffer) greatly intrigues Will, but can’t distract from the fact that some great force within is transforming him.
It’s hard to know where to start when it comes to describing the many attributes of Wolf. To begin with, the film contains, for my money, the most vibrant score the legendary Ennio Morricone ever composed, which proves quietly dynamic at every turn throughout the film. There’s a fair amount of humor (for a werewolf movie anyway) to have fun with, such as the classic scene where Will urinates on the bathroom floor stating that he’s “just marking my territory.” The thrills, meanwhile, are mainly saved for the film’s final act. Yet the suspense and mystery of what is happening to Will never ceases. Top make-up and practical effects by Rick Baker, along with a dreamy use of cinematography and a production design that feels slightly gothic, all equally do their part to tell a werewolf film made with real elegance.
Every werewolf film contains an underlying ideology of man coming to terms with his own bestial qualities, while showcasing the animalistic nature of whatever environment is being illustrated. Here, it’s the setting of the New York publishing world and the ruthless dog-eat-dog mentality that is lurking underneath. More than just a film about a man turning into a werewolf, Wolf also proves to be a somewhat compelling, yet doomed love story in the undeniable attraction between Will and Laura. I’ve always been impressed by the way some films were able to tell a story where something outrageous was happening, while at the same time presenting another story which proves just as involving. Wolf is one of the rarest of films which manages this without a hitch.
Some have claimed in the past that the character of Laura is nothing more than a set piece for the film, not really functioning beyond being “the girl.” This has always made me a little upset since for me, Laura remains one of the most essential ingredients of Wolf. Laura is a rich bad girl through and through, and Will is spot on when he implies that the only reason anyone would want to look past her beauty is BECAUSE of her beauty. For me, Laura is a lost soul, escaping a dark past and not really fitting into any one part of society. It’s no wonder that she and Will should meet as he finds himself transforming. She too is a sort of wild animal, cautious and ready to attack anyone she feels she cannot trust.
Nicholson and Pfeiffer are perfect here in the leading roles, and watching them explore the underused chemistry they shared in 1987’s The Witches of Eastwick is a definite treat. They’re almost outshadowed by Spader, however, in what is certainly his most deliciously villainous turn ever. It’s also good fun to see a number of established character actors and up-and-comers turn up throughout Wolf such as Eileen Atkins, David Hyde Pierce, Allison Janney, and David Schwimmer.
Wolf was greeted with kind, if slightly unenthusiastic, reviews when it first came out. Many critics applauded the filmmakers’ approach to tell a werewolf story with maturity and sensitivity. Audiences meanwhile lapped up the thought of seeing Joker and Catwoman in a werewolf thriller, making Wolf one of the more profitable films of the 1994 summer movie season.
It was reported that the release of Wolf was significantly delayed in order to re-shoot the film’s third act. Normally such a move would signify a troubled production and a shoddy end product. This is definitely not the case here. The incredible third act is gloriously operatic and energetic in its execution, featuring an ending which has become a cause of debate for virtually all who watch it. It may not be on par with Lon Chaney Jr., but Wolf more than earns its status as a strong entry in the genre.
