WEREWOLF OF LONDON FILMBOOK

Continuing our celebration of the 90th anniversary of Universal's WEREWOLF OF LONDON, shown here today is the filmbook for the movie from FAMOUS MONSTERS OF FILMLAND #41 (November 1966).

BEFORE THEY WERE MONSTERS: HENRY HULL

Henry Watterson Hull (October 3, 1890 – March 8, 1977) was born in Louisville, Kentucky and began acting at an early age. His most famous role was as Dr. Henry Glendon in Universal's WEREWOLF OF LONDON (1935).

Resisting the plan to be covered with a face full of makeup man Jack Pierce's yak hair, Hull went over Pierce's head and got studio head Carl Laemmle Jr. to use less so that his face could be recognizable as Glendon's -- a cinematic spoiler if there ever was one. Needless to say, Pierce was miffed, of course, but patience won out as he was allowed to use "the full meal deal" on Lon Chaney Jr. in THE WOLF MAN (1941). Ironically, Hull would never play a monster or appear in another horror film for the rest of his career.

The photo shown today is from the November 1934 issue MOTION PICTURE MAGAZINE and was taken before his started filming his role as Abel Magwitch in Dickens' GREAT EXPECTATIONS. He would be in one more film before starring in WEREWOLF OF LONDON. The photograph is by Ben Pinchot.

These two photos show Hull in Jack Pierce's "minimalist" makeup.

THAT "OTHER" WEREWOLF

During the production of Universal's WEREWOLF OF LONDON (1935) Jack Pierce designed what was to be the last of his great gothic horror makeup creations. However, his idea of a man turning into a wolf, complete with fur covering his entire face, would have to wait a half-dozen more years until Lon Chaney, Jr. wore the makeup in THE WOLF MAN.

Henry Hull was cast as Dr. Wilfred Glendon in the titular role. Hull was known at the time as one of the stage and screen's greatest actors and he wielded great influence regarding the making of the productions he was to act in. When he caught wind of what Pierce was planning he balked at having his face covered in yak hair. Hull thought the full-face makeup would prevent audiences from observing the werewolf's expressions. Much like Lugosi's insistence on applying his own makeup in 1931's DRACULA, Pierce's idea was shot down by studio executives (probably the film's producer, Stanley Bergeman) in favor of Hull's request. Once again, Pierce would have to lick his creative wounds and bide his time.

The first issue of MODERN MONSTERS (April 1966) included an article on WEREWOLF OF LONDON, defending it as a worthy addition to the Universal classic monster film canon. It made thematic comparisons to the more well-known (and popular) Chaney, Jr's THE WOLF MAN, as well as detailing what separated the two. The unnamed author's (most likely publisher Jim Matthews) assertions are largely accurate, with the exception of naming the werewolf curative Mariphasa plant that Glendon brought back from Tibet as the "Mariposa".

IN MEMORIAM: HENRY HULL

[October 3, 1890 - March 8, 1977]

IN MEMORIAM: HENRY WATTERSON HULL (OCTOBER 3, 1890 – MARCH 8, 1977)