Arrow Gives ‘An American Werewolf in London’ the Royal Treatment – Media Review

An American Werewolf in London is one of the two greatest werewolf films ever made. (Hint: The other film came out in 1981, too.). There isn’t anything that I could say that hasn’t been said over the last 42 years since the film’s release. It’s more than a classic. It’s an epic beginning to one of the best decades for horror films.

The story of how it came to pass is serendipitous to say the least, a perfect storm of inspiration, networking, and tax incentives. With the tagline, “From the director of Animal House, a different kind of animal,” no one knew what they were in for. Maverick filmmaker John Landis thought he would take what was best about the old Universal Monster flicks he grew up with and interject some some brand new stuff. That new stuff was bold, ambitious, and ultimately groundbreaking and game changing. Things like sweetening the visceralness with some uneasy comedy or the musical irony of Sam Cooke singing over a guy whose flesh and bones are painfully contorting into a wolf on his nurse/lover’s living room carpet. Who could possibly think of anything like that?

As John Landis was working as a production assistant on Kelly’s Heroes in Eastern Europe, he soaked up all the superstition about vampires and corpses returning to life and thought it may be cool to write a horror film. The script went quickly, but the chance to make the film was another story. Landis hadn’t made any movies yet, much less an ambitious werewolf film. When he did make his first film, Schlock, he himself played the creature. It was a bare bones budget and another up and comer with Rick Baker was doing the effects. While Landis was in the makeup chair, he would regale Baker with all the finer points of his werewolf film. The high point was the on screen transformation. Pretty ballsy, but both he and Baker pledged that when the time came, they would be ready.

Eventually, Landis did get some Hollywood cred. With hits like Kentucky Fried Movie, Animal House, and The Blues Brothers, he had proven that he could direct films with a variety of technical challenges. These were all comedies, though. Landis had been playing the long game and knew it was time. He believed in his script with its horrific effects made more palatable with dark but expertly placed comedy. He called Rick Baker to make good on his promise. There was only one problem: Baker was working on The Howling, another werewolf film. Serendipity swooped in and Baker recommended a very young Rob Bottin to take his place on The Howling.

Both movies had game-changing transformation scenes. Bottin went on to do the effects for The Thing, and Baker won the very first Oscar for best make up for An American Werewolf in London.

How did I know all that? A plethora of special features for Arrow’s release of An American Werewolf in London. I’ve owned this film on every affordable format, and this one is fantastic beyond words. So worth the price and crafted with a genuine love for the film the way Arrow always does.

First of all, the 4k is beautiful, but believe it or not, that’s not the best thing about this release. The packaging is exquisite with thick paper and twinged with that glorious smell of new books from a school book fair or a new yearbook. It feels every bit like the absolute best version of the film you will ever own.

It’s quite simply one of the best physical media releases I’ve been fortunate enough to enjoy, and a must for any fan of the film. It has a perfect confluence of new and vintage.

• The 60 page book included features artwork and printed material created for this release and archival reviews, articles and photos when the film first debuted.
• Six double sided lobby cards that made me not quite as regretful that I didn’t get to see it in the theater in 1981
• Double sided poster
• A reversible sleeve featuring very slick artwork from gifted artist Graham Humpheys
• A new featurette with Rick Baker discussing his incredible work on the film
• A vintage look inside Rick Baker’s workshop during effects work for the film
• An interview with John Landis
• A vintage Making Of featurette
• Outtakes
• The original trailer, teaser, TV and radio spot
• The Werewolf’s Call: Corin Hardy, director of The Hallow, and and writer Simon Ward talk about seeing An American Werewolf in London during their formidable years
• Multiple interviews and features on the origins and incarnations of the werewolf in cinema featuring Rick Baker, John Landis, Daniel Griffith, Joe Dante, and David Naughton
• A look at some of the original costumes and props from the film with SFX artist Dan Martin and Tim Lawes of the Prop Store
• Audio commentary from David Naughton, Griffin Dunne, and Paul Davis

Speaking of Paul Davis, this set wouldn’t be complete without his 2009 feature length documentary Beware the Moon: Remembering an American Werewolf in London. Without question, one of the best documentaries about the making of a film and clearly a labor of love from Paul. This may be the best work Arrow has ever done, and that speaks volumes.