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09-Jan-2010, 22:12
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 The Wolf Man (Frank Skinner and Hans J. Salter) (1941) MP3 No puedo evitar comentar que siempre me ha fascinado ese bosque con la bruma tan espesa en el suelo... Irreal y falso completamente pero increíblemente hermoso y entrañable (Por cierto que me recuerda mucho al bosque de Raimi en su saga Evil Dead...). Compositor: Frank Skinner and Hans J. Salter Año: 1941 Procedencia: U.S.A. Formato: MPEG a 320 kbps / 44,100kHz Tamaño: 44,8 Mb (Comprimido) CONTENIDO: 1- The Wolf Man - Universal Signature 2- Main Title 3- The Telescope 4- Wolf-Bane 5- The Kill 6- Bela's Funeral 7- Desperation 8- Sir John's Discovery Duración Total: 27 min. aprox. Link Info de la peli de Wikipedia: Film overview Lawrence Stewart "Larry" Talbot (Lon Chaney, Jr.) returns to his ancestral home in Llanwelly, Wales to reconcile with his father, Sir John Talbot (Claude Rains). While there, Larry becomes romantically interested in a local girl named Gwen Conliffe (Evelyn Ankers), who runs an antique shop. As a pretext, he buys something from her, a silver-headed walking stick decorated with a wolf. Gwen tells him that it represents a werewolf (which she defines as a man who changes into a wolf "at certain times of the year".) Throughout the film, various villagers recite a poem that all the locals apparently know, whenever the subject of werewolves comes up: Even a man who is pure in heart and says his prayers by night may become a wolf when the wolfbane blooms and the autumn moon is bright. That night, Larry attempts to rescue Gwen's friend Jenny from what he believes to be a sudden attack by a wolf. He kills the beast with his new walking stick, but is bitten in the process. He soon discovers that it was not just a wolf; it was a werewolf, and now Talbot has become one. A gypsy fortuneteller named Maleva (Maria Ouspenskaya) reveals to Larry that the animal which bit him was actually her son Bela (Bela Lugosi) in the form of a wolf. Bela had been a werewolf for years and now the curse of lycanthropy has been passed to Larry. Sure enough, Talbot prowls the countryside in the form of a two-legged wolf. Struggling to overcome the curse, he is finally bludgeoned to death by his father with his own walking stick. As he dies, he returns to human form. The poem, contrary to popular belief, was not an ancient legend, but was in fact an invention of screenwriter Siodmak. The poem is repeated in every subsequent film in which Talbot/The Wolf Man appears, with the exception of Abbott and Costello Meet Frankenstein, and is also quoted in the later film Van Helsing, although many later films change the last line of the poem to "And the moon is full and bright". The original Wolf Man film does not make use of the idea that a werewolf is transformed under a full moon. Gwen's description and the poem imply that it happens when the wolfbane blooms in autumn. The first sequel, though, made explicit use of the full moon both visually and in the dialog, and also changed the poem to specify when the moon is full and bright. Presumably this is what popularized the full-moon connection in the 20th century. The sequel visually implies that the transformation occurs as a result of direct exposure to light from the full moon. Other fiction has assumed the transformation is an inescapable monthly occurrence and does not examine whether it is caused by light, tidal effects, or some cycle that happens to coincide with the moon's phases. Special effects In the original film, Chaney did not undergo an on-screen transformation from man to wolf, as featured in all sequels. The lap-dissolve progressive make-ups were seen only in the final ten minutes, and then discretely: Talbot removes his shoes and socks, and it is his feet which are seen to grow hairy and transform into huge paws (courtesy of uncomfortable "boots" made of hard rubber, covered in yak hair). In the final scene, the werewolf does gradually become Larry Talbot through the standard technique. The transformation of Chaney from man into monster was laborious. A plaster mold was made to hold his head absolutely still as his image was photographed and his outline drawn on panes of glass in front of the camera. Chaney then went to makeup man Jack Pierce's office, where Pierce, using grease paint, a rubber snout appliance and a series of wigs, glued layers of yak hair to Chaney's face. Then Chaney would return to the set, line himself up using the panes of glass as reference and several feet of film were shot. Then the make-up was removed and a new layer was applied, showing the transformation further along. This was done about a half-dozen times. Talbot’s lap dissolve transformation on screen only took seconds, while Chaney’s took almost ten hours. According to ballyhoo from Universal's publicity department, World War II was responsible for the brevity of Chaney's hirsute appearance in the last serious sequel, House of Dracula (1945). According to a small blurb in that film's press book, a nationwide lack of yak hair from the Orient prevented the character from appearing in more scenes. Given that the script was written with the Talbot character as a hero, this sounds like the work of a publicity flack trying to make an excuse. The Wolf Man does, however, appear with bare, non-hairy hands in one shot of House of Frankenstein, (1944) but this was an on-set gaffe; no "lack of yak hair" publicity accompanied this film. Themes As in most of Universal’s classic monsters, the appeal of the Wolf Man lies in the humanity beneath the horror. Lawrence Talbot was tormented with the knowledge that he became a savage beast with a lust to kill; he is the quintessential reluctant monster. Only death could set him free but, as the sequels proved, death is only temporary in monster movies. Writer Curt Siodmak has written that he was heavily influenced by Greek Mythology while drafting the script for this film. A disfrutaro!!  Última edición por juanginger; 09-Jan-2010 a las 22:33. Razón: poner enlace entre codigo  |
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25-Jan-2010, 23:42
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Respuesta: The Wolf Man (Frank Skinner and Hans J. Salter) (1941) MP3  |
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