Wine & Wolves: The Curse of the Werewolf (1961)


I can’t let Halloween pass without talking about a Hammer film. They go hand-to-hand in my home and one of my favorites is Terence Fisher’s The Curse of the Werewolf (1961). The film features some sumptuous color photography, incredibly sophisticated make-up effects for its time and a powerful central performance from Oliver Reed. It also happens to contain many references to wine.

The Curse of the Werewolf begins with a hungry beggar (Richard Wordsworth) who arrives in a small 18th Century Spanish town while church bells ring out in celebration of a wedding. He immediately visits a local bar where the townspeople have gathered and are drinking wine in abundance from crude cups. When the beggar asks them to share their wine and food, he’s refused and told to visit the wedding party taking place at the home of a powerful nobleman appropriately named Marques Siniestro (Anthony Dawson). The local town’s people know just how sinister the nobleman truly is and suspect the beggar will suffer his wrath but they selfishly send him there anyway. Their heartlessness and lack of compassion for the poor man will eventually have a devastating effect on the whole community. Although this is a crimson colored film in more ways than one, The Curse of the Werewolf smartly stresses that the true horrors of the world are man-made even when they have supernatural connotations.




When the beggar arrives at Marques Siniestro’s home he is forced to dance and act the fool for the Marques’s wedding guests who sip wine from golden goblets, illustrating the class differences between the town’s folk with their crude drinking mugs. Things go from bad to much worse when the beggar makes a gentle joke in the spirit of the wedding festivities. The sadistic Marques takes offense and has the beggar imprisoned for life. As the years pass, the beggar grows more animalistic and begins to resemble an old grizzled wolf gone mad from gnawing hunger. From his isolated prison cell the only friendly face he sees belongs to the mute daughter of his jailer. In the film’s most terrible scene, the mute girl who is now a full-grown woman (Yvonne Romain), is imprisoned with the mad beggar after she refuses to succumb to the Marques’s crude advances. Thinking him a friend or at the very least a man worth pitying, she is overcome with horror when the crazed beggar sexually assaults her. Their brutal encounter ends with his death while she becomes pregnant with a monster.

The unfortunate girl eventually escapes her jail cell and kills the cold-hearted Marquis in retaliation. Hiding in the woods and forging for food like a wild animal, she’s found months later by a kindhearted gentlemen-scholar (Clifford Evans) who invites her into his home and offers to take care of her and her unborn child with help from his motherly servant (Hira Talfrey). When the girl dies in childbirth on Christmas day, the family adopts her infant son as their own. Years pass and as the child called Leon grows it becomes apparent that he’s developing werewolf traits and a taste for blood but the profound love of his family seems to keep his wolf-like urges at bay.

When he’s a full-grown man, Leon (Oliver Reed) decides to leave the comfort of home to set out on his own and finds work at a Spanish vineyard where he bottles and labels wine for a living. While surround by barrels of intoxicating vino, he falls madly in love with the vintner’s daughter named Christina (Catherine Feller) who seems capable of taming the wild beast that is inside Leon. Unfortunately Christina’s father insists she marry another man and when Leon’s heart is broken he begins transforming into a werewolf and terrorizing the town. Without his knowledge, he has become his father’s child and Leon’s final acts of violence manifest as the beggar’s horrific revenge from beyond the grave.




This unique Gothic horror from Hammer is part love story, part social allegory and part monster movie. John Elder aka Anthony Hinds’s script was loosely based on a book by Guy Endor (The Werewolf of Paris) and it takes a grim but very modern view of life by stressing that the werewolf is a product of his environment and circumstance instead of just a supernatural beast. The impressive sets, which were borrowed from previous Hammer productions, still look fresh and are accentuated by Terrence Fisher’s direction. This is somewhat of a staid film for Fisher and lacks the abundant style that the director brought to The Brides of Dracula (1961) made the same year. Instead, the film becomes a creative showcase for Oliver Reed’s performance and he’s spectacular as well as deeply moving as the cursed werewolf. The film also provides a nice backdrop for some of the studio’s best make-up effects designed by Roy Ashton. Reed’s transformation from a handsome young man (he was just 21-years-old at the time) into a ferocious wolf is particularly startling but it’s matched by the makeup used to age and disfigure the beggar and the Marquis. The two men are not typical monsters but as their souls seemingly wither and die; their decaying faces illustrate the ravages of time and the darkness that has suffocated their hearts.

It’s easy to deduce that the numerous wine references in the film are a metaphor for all the blood that gets spilled and since this is a horror film I can’t argue with that assumption. But it is also a symbol of celebration and unity among the town’s people and a harbinger of romance for Leon. The winery brings him in contact with the lovely and gentle Christina while promising the notion of passionate and unconditional love ripening among the Spanish vineyards.

The film is available in a nice DVD package of Hammer films sold in the TCM Shop and you can currently stream it on Amazon if you want to make it part of your Halloween viewing.

The Curse of the Werewolf is suspenseful and surprisingly romantic and to celebrate the launch of the TCM Wine Club I recommend you pair it with Palacio del Conde Reserva 2007. This juicy red Tempranillo with a velvety taste and hint of spice is produced in Spain using handpicked old vine grapes that evoke the 18th century Spanish winery seen in the film. The wine also happens to marry well with lamb, which will satiate hungry wolves.

To learn more about the TCM Wine Club please visit and join us on social at #CinemaSips

11 Responses Wine & Wolves: The Curse of the Werewolf (1961)
Posted By Ben Martin : October 29, 2015 7:53 pm

All of the formidable merits of this gorgeous film have been very well stated by you above. Boy do I have trouble with the first half hour or so of this movie, though. Sadism, rape, cruelty? THAT’S what causes a boy to become a werewolf? Huh? I think Anthony Hinds is a fantastic producer, and helped make so many Hammer Films look so much better than their meager budgets could muster otherwise. Yes he is competent writer, I think, but his choices never cease to amaze me. I wont belabor the point – but if for no other reason than the monster in the title of his films seems to play an almost secondary role – AND, in this case, in favor of a sordid, needlessly off-putting, seemingly endless set-up. What is the screen-time of this fantastic looking werewolf played so well by Oliver Reed? Four minutes? Three? (This could have been the best werewolf movie ever.) I don’t know but I’m going to count next time. WHILE I drink my Palacio del Conde Reserva 2007, thank you very much.

Posted By James : October 30, 2015 1:52 am

The causes of the werewolf’s origin may well originate (sorry) in the source novel, The Werewolf of Paris, by Guy Endore. I haven’t read it so can’t qualify.

I do think the whole “3min max of the monster at the end” smacks of a budget conscious producer. Even so, Lon Chaney Jr probably has the same screentime as the Wolf Man but it’s scattered throughout the picture.

Posted By Ben Martin : October 30, 2015 12:37 pm

Yes I think you are right, James, on all counts.

Posted By Ben Martin : October 30, 2015 1:51 pm

A little research says that yes in the original book the boy is indeed the product of a rape – but in the book it was a priest. Endore was especially “sensitive to the hardships of the working classes and other victims (human and non-human) of social hierarchy.” So I guess you cant begrudge him that.

Posted By Mitch Farish : October 30, 2015 2:30 pm

Yesss!!! This is a great movie, not just a great horror movie, but it is the best Hammer film and the best werewolf film ever made, and for the very reasons you have said. The environmental factors cannot be stressed enough, the werewolf is a metaphor for the cruelty of society, and it is important that Don Corledo knows he is killing his own son out of love for his son with a musket ball moulded from a silver crucifix. In The Wolf Man, Claude Rains kills his son played by Lon Chaney, Jr. in a blind act of self defense. We lose any sense of the tragic depth that Anthony Hinds captures in The Curse of the Werewolf. Can you recommend which blu-ray to buy. I would very much like to have this in HD.

Posted By Kimberly Lindbergs : October 30, 2015 6:35 pm

Mitch – Glad to find someone who appreciates the film as much as I do! I’m afraid I don’t own a copy on Blu-ray but I’ve been told that if you have an all-region player the German Blu-ray is the best option.

Posted By George : October 30, 2015 10:19 pm

CURSE OF THE WEREWOLF is one of Hammer’s best films, second only to BRIDES OF DRACULA in my opinion.

But my favorite werewolf movie is Universal’s flawed but endlessly watchable WEREWOLF OF LONDON (1935). It’s not the best werewolf movie — if I had to pick the best, I’d probably go with AMERICAN WEREWOLF IN LONDON. But WEREWOLF OF LONDON is the one I enjoy watching the most.

BTW, check out the current film CRIMSON PEAK for a variation on the Fisher-Hammer/Corman-Poe style of Gothic horror.

Posted By Mitch Farish : October 31, 2015 1:39 am

Sorry I wasn’t more articulate before. I was in a hurry. But if you’re interested, I posted an essay about werewolf movies – including my favorite, Curse of the Werewolf – on the TCM fan site. You can find it by pasting the following URL:

Posted By Kimberly Lindbergs : October 31, 2015 5:28 pm

You’re plenty articulate, Mitch. Nice piece about werewolves in the movies.

Thanks for all the comments & I hope everyone has a spooktacular Halloween!

Posted By Autist : October 31, 2015 7:11 pm

Happy Howl-o-ween!

Posted By swac44 : November 3, 2015 5:33 pm

I’ve read that the setting for CURSE was switched from France to Spain because Hammer had started production on a film about the Spanish Inquisition that it decided to scrap because of protests from the Catholic League of Decency, and decided to keep the Spanish setting for a werewolf movie instead. If this is true, it’s a great example of necessity being the mother of invention, and makes me wonder if this film helped inspire the Spain-shot werewolf films starring Paul Naschy in his signature role as eternally cursed lycanthrope Waldimar Daninsky.

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