The 1981 horror-comedy classic, An American Werewolf in London, directed by John Landis, remains a benchmark in cinematic werewolf lore. Alongside contemporaries like The Howling and Wolfen, it carved a unique space, blending scares with dark humor. While the film is celebrated for its groundbreaking practical effects and transformation sequence, the opening scene, underscored by a carefully chosen song, deserves equal attention. This article delves into the genius of the film’s opening, specifically how the “Werewolf In London Song,” or rather songs, set the stage for the tragic events to unfold.
An American Werewolf in London movie title card featuring the film's name in stylized font against a dark background.
The original blog post rightly points out the significance of the opening titles and music in An American Werewolf in London. It highlights how the film cleverly subverts werewolf movie tropes from the outset. Traditionally, werewolf tales are rooted in wilderness settings, far from urban landscapes. An American Werewolf in London, despite its titular city, begins in the desolate, windswept Welsh moors. This deliberate misdirection is crucial. The initial tranquility, emphasized by the seemingly barren landscape and absence of dialogue, creates a false sense of security before the horror descends.
The opening credits roll against this stark panorama. The wind, a subtle yet potent auditory cue, hints at the lurking danger. This isn’t a vibrant, welcoming countryside; it’s a cold, isolated expanse. The filmmakers masterfully use static camera shots, allowing the terrain to shift slowly, mirroring the gradual reveal of the narrative. The “Blue Moon” hangs heavy in the sky, both literally, as the film’s events span two full moons, and metaphorically, through the strategic deployment of songs about the moon.
An American Werewolf in London famously utilizes needle-drop songs referencing the moon, juxtaposed against Elmer Bernstein’s score. The most prominent of these is “Blue Moon,” a ballad penned by Richard Rodgers and Lorenz Hart. Originally written for the 1934 film Manhattan Melodrama, it evolved into a popular standard in the 1940s. The film doesn’t just use one version of “Blue Moon”; it features three distinct covers, each strategically placed to amplify the emotional resonance of specific scenes.
Bobby Vinton’s rendition of “Blue Moon” sets the melancholic tone for the opening sequence. Vinton, known for his emotive voice that also graced “Blue Velvet,” imbues the scene with a sense of foreboding. His angelic vocals, singing the opening lyric, “Blue moon/you saw me standing alone/without a dream in my heart/without a love of my own,” foreshadow the tragic isolation and loneliness that will befall the protagonist, David Kessler. This mournful quality aligns perfectly with the inherent tragedy of the werewolf myth.
Later in the film, during the agonizing transformation scene, Sam Cooke’s soulful, bittersweet cover of “Blue Moon” plays, heightening the emotional pain and horror of David’s metamorphosis. Finally, The Marcels’ doo-wop version of “Blue Moon,” a stark contrast to the previous versions, closes the film. This upbeat, almost comical rendition, arriving after the tragic climax, adds a layer of dark humor and irony, typical of John Landis’ directorial style. It serves as a final, unsettling note, leaving the audience to ponder the blend of horror and comedy they have just witnessed.
In conclusion, the opening sequence of An American Werewolf in London is a masterclass in setting tone and foreshadowing through visual and auditory cues. The selection and placement of “werewolf in london song” – specifically Bobby Vinton’s “Blue Moon” – is instrumental in establishing the film’s tragic undercurrent right from the start. It’s a testament to Landis’ skill in weaving together horror, humor, and heartbreak, making An American Werewolf in London a truly unforgettable cinematic experience, deeply enhanced by its soundtrack.
