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I Was a Teenage Werewolf 1957
Description: A meat-eating teenager (Michael Landon) sees a psychiatrist (Whit Bissell), who only makes things worse.
Released: 19 Jun 1957 Director: Gene Fowler Jr. Writers: Herman Cohen (original story), Aben Kandel (original story), Herman Cohen (screenplay), Aben Kandel (screenplay) Actors: Michael Landon, Yvonne Lime, Whit Bissell, Charles Willcox Genres: Drama, Fantasy, Horror, Sci-Fi
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I Was a Teenage Werewolf Reviews:

Despite its apt but risible title, "I Was a Teenage Werewolf," surprises in both the sincerity of its playing, as well as by its accomplished technical credentials. Campy confessional game nothwithstanding, there is nothing about the screenplay that is deliberately parodic.Effectively photographed by distinguished cinematographer Joseph La Shelle, and bolstered by an perfect musical score, the movie thus provides a solid showcase for both its scenario and the performances of its young principals.More importantly, (and this is what gives the picture a leg up on others of its ilk) the movie is moodily under-lit, giving much of it a movie noir ambiance. This is most evident in the hypnosis sequences, (the greatest in the film) which are staged and photographed in a method very reminiscent of Lewton's "Cat People." Anyone doubting the value of the change purse aesthetics at work here need only consult the negligible effects attained in such schlock as "Blood of Dracula" or the pre-Poe Corman films, which create "Teenage Werewolf" look like David Lean by comparison. Here the sincere effort of the technical team shows: an unsettled, fatalistic brooding mood is generated, taking equal measure from the sense of doom hanging over the protagonist and expressed in shadows everywhere, even in mid-day living rooms and psychiatrist's offices. Mr. Landon brings a sensitive intensity to the role that is wholly convincing, and he is ably abetted by all in support. Mr. Sokoloff is fine in his masculine reprise of the Maria Ouspenkaya role from Lon Chaney's "The Wolfman," and a pre Zorro Guy Williams shows up effectively as a policeman.While admittedly done on a modest budget, this limitation is now an asset, inasmuch as it prevents the art direction from going over the top in its very effective depiction of proletariat domestic interiors, (Miss Lime's hero even has Archie and Edith Bunker kind parents.) Thus, the homes, teen club, principal's office etc. are "right on the money." Even so, sharp eyed viewers will note that a leather sofa does double duty in both the police detective's and Miss Fergusan's office. Similarly, Dr. Brandon's and Miss Fergusan's respective office's are the same set, re-arranged, and re-dressed.For his part, Mr. Landon, flush with his TV western success, and (equipped with accompanying footage), lampooned his role in the movie in a 1969 guest appearance on the Jerry Lewis TV show.


You really had to be a teenager in 1957 to appreciate the result this film had on teens back then. Elvis was just starting out and there are similarites to the reactions of adults and teenagers to both icons. (In fact Yvonne Lime was "dating" Elvis (pictures of Elvis and Yvonne together were in film magazines back then) when this movie was made and from what I understand, he even visited the set. Too terrible they couldn't have had him sing a song in it!) There is an nice backstory AMC should create about the senate hearings on juvenile delinquency and this film; the senators mentioned the terrible results this movie had on teenagers even though none of them had seen it! Anyway, Gene Fowler Jr (who had edited Academy Award movies like LAURA) was selected to direct this, his first movie and although he at first had second thoughts about doing it, his wife convinced him "no one would see it anyway." Boy, was she wrong! His background as an editor helped him be a better first-time director than most and helped create this picture, made on a shoe-string budget in only 7 days, better than all the another teen horror movies back then. The camera angles on the war at the beginning, Dawn Richard's gymnist seeing the werewolf upside down at first (and therefore the audience too), showed that he had nice concepts in setting up shots. Michael Landon, contrary to what some believe, never downplayed his connection to this movie for it gave him his begin in present business. He may at first have had doubts about being connected with it with the initial uproar, which is why he turned down the possibility to enjoy the werewolf a second time, but after that, he never bad-mouthed the film. In fact, he paid homage to it on a Halloween episode of "Highway to Heaven." Anyway, the acting is nice all around with standout performances by Landon and Whit Bissell. The "science" used to turn Tony into the creature may be silly today, but in the 1950's, there were a lot of talk and movie plots about past-life regression following the Bridey Murphy newspaper accounts (also used in THE SHE-CREATURE). Again you had to live in the 1950's to understand all this. Philip Scheer's werewolf makeup is one of the better pre-Howling/American Werewolf ones in film history and while the transformation stage isn't as nice as in THE WOLF MAN or THE WEREWOLF, the director did not have a lot of cash or time to work with and did a nice job considering. A movie has to be cute good, even with a weak budget, to be as successful as this one was...and to remain a cult favourite 45 years later. It has stood the use of time and deserves to be considered a classic of its kind.


Made for a paltry sum in 1957, this horror movie grossed over 2 million dollars in a week. Its combination creature and teen angst struck a chord with audiences, especially the core teen-agers. Variety of similar movies followed in the late 1950s. Michael Landon is handsome and brooding, in the James Dean mold [in fact he wears a stripe-lined dark baseball jacket almost as nice as Dean's red one in "Rebel Without A Cause" (1955)], who seeks support for his violent tendencies. Yvonne Lime is lackluster as Landon's girlfriend, but Whit Bissell is compelling as a demented psychiatrist who transforms Landon into a part-time werewolf. Two set-pieces are masterfully constructed: in the first attack a teen man is walking home through the woods, and suddenly hears footsteps behind him. Shot day-for-night, we hear no music, just see branches, brush and meadows, and hear crunching sounds. It's terrifying. The second sequence starts with Landon watching a woman practice on a parallel bar in a gym. The bell rings and he is transformed. This is our first look at the werewolf makeup and it's effective. But the woman is hanging and sees him upside down and so do we for a short while, set to a magnetic musical score, and it's thrilling. Soon the creature hunt becomes a bit drawn-out, aided by a janitor from "the old country" who speaks of werewolf legends, a replacement for the gypsy girl from "The Wolf Man" (1941). This is undoubtedly Michael Landon's most popular and greatest screen performance, since he got lost to TV.



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