The Wolf Man Twist Has Been Done Before — But Never This Well

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Warning! Plot details and endings for the movies “Wolf Man” (1941), “The Wolf Man” (1941), and “The Wolfman” (2010) may be revealed. Proceed with caution if you wish to avoid these spoilers.

As a devoted cinema enthusiast, I’d say that crafting a Wolf Man movie for Universal Pictures requires just two essential elements: a werewolf transformation and a complex familial bond, particularly daddy issues. This concept dates back to the 1941 classic, The Wolf Man, which marked the debut of the iconic lycanthrope within the Universal monsters canon. Lon Chaney Jr., portraying Larry Talbot, reunites with his long-absent father, portrayed by Claude Rains, when he journeys back to Wales to lay his brother to rest.

In a 2010 remake titled The Wolfman, Benicio del Toro and Anthony Hopkins stepped into the roles of Lawrence and Sir John Talbot, respectively. Their portrayal emphasized Lawrence as the estranged son, who had been driven away from home due to his haunting memories of his mother’s demise. Upon returning home, Lawrence is bitten by a werewolf, and his father—at first—protects him from the townspeople intent on slaying the monster.

In both movies, the younger Talbot’s life takes a dark turn after being bitten, with his father initially shielding him from the mob, despite their strained relationship.

The fresh take on “Wolf Man” isn’t a remake, instead it’s a reboot; the plot on paper bears minimal resemblance to the two movies preceding it, not even mentioning the four ’40s sequels by Lon Chaney. Christopher Abbott plays Blake, married to Charlotte (Julia Garner), a workaholic journalist, and father to Ginger (Matilda Firth) who stays at home. After inheriting his childhood home in Oregon woods, they decide to escape the city for this rural retreat. However, just outside their farmhouse, a chilling encounter with a werewolf leaves Blake injured, causing them to flee. Though they might feel secure once indoors and have locked the door, Blake starts exhibiting signs of illness, gradually (and grisly) transforming into the same beast that attacked them.

In his 2020 adaptation of “The Invisible Man”, director and co-writer Leigh Whannell offers a fresh take on the title character, with a focus on themes that have made Universal monsters enduringly relevant. The film’s version of “The Invisible Man” delves deeply into gaslighting as well as invisibility, while his “Wolf Man” explores the dark aspects of masculinity, or more specifically, the dread of transforming into a protector figure and becoming a monster instead. Although the film departs significantly from its predecessors, Whannell’s “Wolf Man” ultimately unfolds as another werewolf story centered around a tumultuous father-son relationship. The climactic revelation that Blake’s father, Grady (Sam Jaeger), is the one who infected him with lycanthropy further solidifies the movie’s underlying message: Nothing is more terrifying than transforming into your father.

Prior to the plot’s turn, Grady significantly influences the narrative of “Wolf Man”. The story commences 30 years ago, depicting Grady leading a young Blake (Zac Chandler) on a hunting trip. It is evident that Blake was fearful of his authoritative father, who frequently resorted to shouting to maintain control over his son. In the present day, when grown-up Blake discovers that his long-lost father has been declared deceased, we uncover their estrangement, which had ensued since Blake left home. Given that Grady’s death has only been assumed, it might seem reasonable to anticipate his return. The opening scene also hints at Grady’s fascination with the werewolf lurking in the woods, suggesting a possible explanation for his current situation. These speculations prove accurate when the attacking werewolf enters the farmhouse. Charlotte manages to wound the creature from behind, providing Blake — amidst his own transformation — an opportunity to gain the upper hand. He employs his teeth to rip out the werewolf’s throat, and upon observing a familiar tattoo on the dead beast’s arm, Blake comes to the realization that his father was indeed the monster.

The most intriguing aspect of the twist in ‘Wolf Man’ isn’t the revelation itself, which is somewhat predictable, but the fact that it has been used before. Despite 2010’s Joe Johnston–directed ‘The Wolfman’ generally following the plot of the 1941 film, it ventures into uncharted territory when Sir John is unveiled as the werewolf who infected Lawrence and murdered his mother and brother. After years of being a werewolf, Sir John is no longer remorseful about his killings and has stopped confining himself during the full moon, instead delighting in slaughtering innocents without a second thought. Anthony Hopkins’ portrayal of the character amplifies the psychopathy, making Sir John’s villainous speech and final confrontation with Lawrence more comedic than tragic. Although this remake has its flaws, it paves the way for Whannell’s ‘Wolf Man’: Both films explore the profound influence and effect that even distant fathers can have on their sons.

Essentially, “Wolf Man” delves deeper and conveys its theme more effectively compared to “The Wolfman,” as the latter happens upon it, primarily fueled by the excitement of having Hopkins portray a villain rather than pursuing a more profound exploration. In contrast, “The Invisible Man’s” successor, “Wolf Man,” places Blake’s concern about repeating his father’s mistakes at the forefront. When he scolds Ginger for being near a busy street, he quickly apologizes, confessing that his anger stemmed from fear. He aims to protect his daughter but doesn’t wish for her to be frightened of him, as he was of his own father. Later, Blake reveals that in an attempt to safeguard one’s family, one might unwittingly become the very danger they’re trying to avoid. This message may not be subtle, similar to “The Invisible Man,” but Whannell leverages the capacity of horror to materialize anxiety. After being scratched by Grady in werewolf form, Blake transforms into his father figure, or at least a monster of the same kind. Now, he becomes something that Ginger must flee from rather than emotionally connect with.

As a passionate cinephile, I find it fascinating how the conclusions of “The Wolfman” (2010) and “Wolf Man” (1941) reflect each other in intriguing ways. In the original, Sir John (Rains), unknowingly slays his son while Larry is in werewolf form. Conversely, in “The Wolfman,” it’s Lawrence who must take Sir John’s life before succumbing to a silver bullet from his pseudo-love interest, Gwen (Emily Blunt). The original “Wolf Man” has Blake killing his father too, but redemption for him is more elusive. After Grady’s death, Blake chases and attacks his wife and daughter relentlessly. It isn’t until the very end that he seems to find a glimmer of clarity, summoning whatever humanity is left within him, and seemingly inviting Charlotte to shoot him – an act she carries out after Ginger confirms it’s time for this chapter to close.

In a manner similar to the conclusion of “The Wolfman”, the protagonist of “Wolf Man” expresses gratitude towards Gwen for releasing him. However, Whannell’s version carries an extra layer of emotion as Blake chooses to leave his family behind to ensure their safety. This could be seen pessimistically as Blake being destined to repeat his father’s mistakes, with no amount of good parenting or open communication preventing him from transforming into a monster. If that was the story “Wolf Man” intended to tell, it would not offer a moment of redemption at the end. Instead, while Blake acknowledges that his father’s influence is harder to shake off than he thought and recognizes his potential to be as dangerous as the man he feared, his act of self-sacrifice demonstrates his capacity to break free from the cycle. The film doesn’t provide a joyful ending, but it isn’t entirely tragic either. The final scene of Charlotte and Ginger gazing upon the valley ahead offers a glimmer of hope.

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2025-01-22 18:54