Often, there’s a fine line between horror and humor. That’s because a natural defense mechanism of the human psyche is to laugh at something that causes discomfort. Hence, while some people are shocked and horrified by a film like The Exorcist, others chortle and giggle like they’re watching an Adam Sandler comedy. On rare occasions, directors attempt to exploit this link. Most of the time, they fail miserably, and the results can be painfully unfunny and non-frightening. However, a few filmmakers defy the odds and mine the right vein of ore. The list is disappointingly short, and includes names like Sam Raimi (The Evil Dead and its two sequels) and John Landis.
Landis came to An American Werewolf in London riding the crest of a wave of popularity. His two previous movies, National Lampoon’s Animal House and The Blues Brothers, had proven to be huge box office successes. An American Werewolf in London would make it a trifecta. Afterwards, the director’s career began a slow downward slide, beginning with the on-set disaster associated with his segment of The Twilight Zone (in which actor Vic Morrow was killed). Landis rebounded briefly with Trading Places, but, by the advent of the 90s, he was mostly regarded as a has-been and proof of how easily even a proven filmmaker can fall out of favor in a fickle industry.
In terms of storyline and plot structure, there’s nothing new or surprising about An American Werewolf in London. What makes this film different (if not unique) is its successful marriage of comedy and horror. The humorous sequences are funny enough to laugh at, while the gruesome scenes retain the power to shock. From time to time, Landis strays close to the line of camp, but never quite crosses over. This is in large part due to our identification with the main character, whom we hope against hope will find some way out of an impossible predicament. Had this individual been imbued with less humanity, he would have turned into a caricature and the entire film would have devolved into the kind of grotesque farce that characterized An American Werewolf in London‘s 1997 sequel, An American Werewolf in Paris. Continue reading MasterChugs Theater: ‘An American Werewolf in London’
When it comes to the news, The Guys mostly peddle smutty stuff like when strippers attack or animals learn to dial phones. It appears that the news has finally noticed:
It’s Friday, which is known in some countries as the end of the work week. Fortunately, it is not the end of the news cycle–there is no end to that. Is everyone else getting sick of election-related stuff yet? We are, and if you’re looking for updates on the election this week, look somewhere else. If you were busy faking an attack on you because you’re a McCain supporter, odds are you missed it.
No one likes to be lonely. Even the worst misanthropes want to have someone. It’s understandable, though not entirely possible all of the time. That’s why there’s the Internet!