jacobjohntaylor1 This is scarier then The Exorcist. This movie has a great story line. It also has great acting. More people need to see this movie. People who like horror stories will like this movie. Fury of the wolf man will scary you out of your mind. If you are looking for a really scary movie see this movie.

Leofwine_draca Shot in 1970 but not released until two years later, THE FURY OF THE WOLFMAN is one of the entries in the long-running Spanish series of 'Waldemar Daninsky' werewolf movies starring Paul Naschy. Unfortunately, it's one of the lesser affairs, mainly down to dodgy direction that results from a drunken director being allowed full control of the proceedings. As a result, the film is badly edited; has often risible dialogue; uses copious footage from earlier Naschy films and is generally poorly-filmed, especially in the action scenes. Compare this film with its sequel, WEREWOLF SHADOW, by the reliable and eminently stylish director Leon Klimovsky, and you'll notice a world of difference.Still, as a bad film it has plenty of interest, especially for the increasingly ludicrous plot ingredients. Not content with merely having a werewolf as the film's central character, the elements of this film's brew incorporate a mad female scientist (shades of LADY FRANKENSTEIN here), a cellar full of freaks and weirdos; a crazy killer guy who wears a Phantom of the Opera mask; a guy in a suit of armour (!) plus the usual torrid adultery and werewolf rampage. The film's nudity was cut for the American market, but the gore remains, including a nasty bit where a victim is burnt alive and bleeds to death at the same time (actually nicked from an earlier flick).There's some fun to be had from the 'monster team-up' moments, especially the climax, where Daninsky tackles his undead-cum-werewolf wife, but Jose Maria Zabalza's shoddy direction even makes these moments less than enthralling. It's a shame, because Perla Cristal is an icy villainess, Veronica Lujan is a lovely love interest, and Paul Naschy is as commendable as ever. Best to give this one a miss and check out some of the better entries in the series; the two films after this one, WEREWOLF SHADOW and CURSE OF THE DEVIL, are a good place to start

talisencrw When I think about why I love Italian horror films so much, particularly those from the 60's to 80's, and wonder why the Italians are so good at making them, it dawns on me that it's because they tend to be so passionate and uninhibited in all of their unbridled emotions, and that it's always a very thin, perforated line between love and hate, good and evil, which makes their actions so uncontrollable and their behaviour so decidedly unpredictable. Take it from me and my personal relationship experiences, Italians really know how to express themselves. The sex is always outstanding, but you always have to go through and endure your share of blood, sweat and tears (as The Smithereens once famously sang, 'I get the blues before and after loving you.') In terms of great horror protagonists, Paul Naschy has always been both the saving grace and missing link, the great Spanish hope. Lord Almighty, he always seemed a direct cross between a 60's Marlon Brando (when he was starting to get disillusioned and pudgy because no one could come up with ideas or roles worthy of his monumental talents) and John Belushi. He always possessed this tortured mythos, channeling the very best of Boris Karloff and Lon Chaney Jr. Yes, he was a monster, but he couldn't help himself, and his nasty habits went against the very fiber of his being. No matter how bad the material (which he usually wrote, under an alias), he was always fervently watchable.Tangentially, Jean-Luc Godard once said that Roger Vadim was 'with it'. The literal translation: He makes bad films, but he knows what people wants to see. 'The Fury of the Wolfman' is like that. Director Zabalza knows his audience inside and out. EVERY SINGLE female character, without exception, is drop-dead gorgeous, not to mention scantily clad at every possible moment. There are whips, chains, bondage--every type of scenario a full-blooded person, even remotely intrigued in sexuality, would be head-over-heels over. The plot is meaningless and deserves to be. It's never the point. All the filmmakers are looking for is 90 minutes of cinematic fun and excitement that people will want to peruse, and you get that here, and are left completely satisfied. As The Kinks famously said, 'Give the People What They Want!'

Chase_Witherspoon Paul Naschy stars as the tragic Walter Daninski character for what must be the fifth or sixth incarnation, this time he's been attacked by a yeti-like creature while on an expedition in Tibet. The twist here is the presence of his co-worker Dr Alman (Cristal) who moonlights as a mad scientist developing zombies that awaken under her control. Journalist (Rivers) becomes interested in both Daninski and Alman when his girlfriend (Lujan) disappears while assisting Alman with her experiments.The first thirty minutes shows promise - Daninski is cuckolded by his pretty but neglected wife (Zorilla), wrecks his car in an automobile accident, then undergoes the hirsute metamorphosis anticipated by the film's title. The film thereafter is a nonsense; while the narrative tries to focus on the jealousy, tragedy and despair of the central characters (Naschy, Cristal and Lujan) as they compete with their alter egos and conflicted loyalties, the context isn't sincere - it's just hokey.Naschy's werewolf is a crazed manimal, bounding about frantically like a rabid chimp, it's amusing moreso than frightening. I can certainly appreciate what the film was attempting to be, but at best it's a romantic melodrama spiced by some monkey nut running around biting random people while a demented scientist does human experiments on hippies and drunks for mind control purposes. I'm not certain that's what Naschy was aiming for, but that was my experience.