The Big Picture A decade before adapting Anne Rice's Interview with the Vampire, Irish director Neil Jordan created another Gothic dark fantasy gem. The Company of Wolves, based on author Angela Carter’s short story by the same name, stars Sarah Patterson as Rosaleen, a teenage girl who has an elaborate dream sequence loosely based on the Charles Perrault fairy tale “Little Red Riding Hood.
The Company of Wolves R A teenager falls into a vivid dreamscape where she navigates a mystical forest filled with wolves and mysterious creatures. The film intertwines multiple tales that reveal the perils of the forest and the allure of the unknown. Each story delves into the complexities of growing up, highlighting the tension between curiosity and caution, as well as the thin line between humanity and the wild.
Horror has always carried the torch of innovation in makeup design, and The Company of Wolves is no exception. In the second wolf transformation scene, Rosaleen tells her mother a story of a sorceress who was wronged by an aristocrat. The woman shows up to a decadent party where she curses everyone by turning them into wolves. The entire table sprout claws out of their high heels and grow hair until they are replaced by a crew of dogs in wigs and corsets.
By 1984, a lot of werewolf tropes had been played out. Certain visual concepts had come to dominate the genre, like a person's head elongating and their body sprouting hair until they morphed into a kind of Bigfoot creature before becoming a wolf, which happens in both An American Werewolf in London and The Howling. The werewolf genre needed revitalization.
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