The transformation of the 1941 Wolfman film is mostly characterized by a gradual increase in body hair. First, heavy tufts appear on Larry's legs, then spreading to create the monster seen in the picture on the left. He walks bent over, but not completely on all fours. This wolfman is alarming, but seems more demented and clumsy than the modern-day incarnation of 2010. Benicio del Toro's Wolfman is fiercer, stronger, and more terrifying. His transformation from man to beast has a more suspenseful pacing Each part of his body is given focus as it shifts into monster. The way in which his body is revealed contrasts with the upfront style of ‘41. The ‘10 wolfman is gradually revealed through shadows, momentary head shots, profile views, close ups on his claws, feet, eyes popping. This transformation is more impacting and precious than the brusque, sillier version of ‘41. The ‘10 feels more “real” because of the physical logistics of transforming that are shown: the bloating of his face, the popping of jewelry and clothing no longer able to fit to the growing body. The modern wolfman is stronger and more agile, and rather than just transforming into a very hairy man, he actually becomes a wolf. He gallops through the forests on all fours, whereas the older wolfman looks like a lost zombie. Del Toro’s wolfman is also more fleshed out, given the more sophisticated sound effects attributed to his monster, as well as the sense that there is this separate, evil force bursting out of the man. However, on a conceptual level, the older wolfman appeals to me more because he represents the classic archetype of a tragic hero in ancient Greek tragedy. Larry becomes entangled with evil through his heroism in defending the first victim of a were-wolf in the film. By no fault of his own, his fortune is suddenly reversed. This inexplicable, senseless destiny is profound as it references the similar protagonists in tragedies, also slighted by fate In this newer version, psychological theory is applied to understand why is this man a monster.
It does seem as if both are unwilling wolfmen. How is that portrayed in 2010.? I like your point about the ancient Greek tragic hero. That is important to the 41 version. What psychological theory dominates the 2010 version? Is tragedy more nearly universal than psychology?
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