Spoilers ahead in case you haven't watched the original film! This is a real-time review, so I discuss a lot of the details!
So, as most horror fans would know, the 1981 horror-comedy 'An American Werewolf in London' was a renowned success and is referenced a lot in subsequent lycanthropic fiction; I would say, 'An American Werewolf in London' is a brilliant watch, and, despite its dated references to erotic cinemas and the wedding of at-the-time Prince Charles and Lady Diana, is timeless.
However, most would forget about the BBC's 1997 made-for-radio audio adaptation of the film. Not much fanfare for it, sadly, but here are my ramblings as I listen through it for the first time. The following thoughts are typed out as the story progresses, so forgive any missed cues and such.
I like the opening giving some precedence to the werewolf who kills Jack and turns David on the moors. He is shown to be a crazed man, presumably locked up in a mental facility, and breaks out upon turning under the moon's glow. The scene clearly expresses the chaotic nature of the full moon reaching its zenith, with the suspense rising as the moon waxes and then waning after the escape.
During the later scene when our protagonist and deuteragonist get attacked by the werewolf, it's a lot more drawn out and visceral than its film counterpart. I love the detail of the pair not being able to discern what it was while it circled them.
Jack later shows up at the hospital in a hallucination of David's, and (unlike in the film, this was a deleted scene) eats a piece of toast that falls out of his left cheek, illustrating that his left bust and face were now ripped up viscera.
While in limbo, Jack meets a new character, along with the presumably hundreds of other werewolf victims going back centuries. I like the detail of the character, who we come to know as Larry, admitting that he was a victim in his own right as the curse's carrier, with Jack then calling him a 'son of a bitch' for killing him.
I do quite like that the relationships between David and Jack and David and Alex are expanded. The sex scene in the shower between the latter pair was a nice change, with Jack watching on in jealousy (while feeling perverse and talking with Larry, who we had learnt to be the werewolf that caused all of this in the first place, while in limbo. Larry had been killed by his brother, George.)
I love the sound design of it overall as I've said, the music building to a crescendo during tension is brilliant, the storming and breathing on the moors and around The Slaughtered Lamb, the steamy music of the sex scenes, all of it is brilliant. You can easily tell when a new scene starts and ends with the corresponding sound design, it's excellent.
During the first transformative scene for David, we would see children laughing at him as he gets locked out of Alex's flat near the start; in the audio adaptation, a child asks him to grab them their dog that had wandered across the fence of Alex's flat, to which David obliged and went to grab the animal, only to be met with snarling and barking despite the child later claiming that the dog was usually very friendly with strangers. This is a nice detail as there is a superstition that animals can sense the supernatural. Later in the scene, there's a cat that hisses at David, emphasising this point nicely.
Jack and David are both revealed to be Jews, something not touched on in the film (with the only reference being a throwaway gag in the recovery scene between nurses Price and Gallagher; 'I think he's a Jew.' 'What makes you say that?' 'I've had a look.') but expanded on in the audio adaptation as there are two quotes; 'Yeah, well the rabbi didn't cover being undead' from Jack to Larry upon response to the idea of limbo, and 'One packet of bacon? Note, I am not tempted by the bacon. Is this because I am not a werewolf or because I am a Jewish werewolf?' from David during his ramblings to himself while exploring Alex's fridge in the first transformation scene before the shift. I like this expansion of their characters as it fleshes them out more compared to the film's portrayals.
Once again, the fantastic sound design illustrates something's coming. It's very foreboding, tempered by David's naivety to the situation at first. The scene is intercut by another, but David seems irritated that he hasn't become a werewolf despite the moonrise, suggesting a want of satisfaction for David to prove to himself he's not crazy. I quite like this change from the film's depiction, which was straightforward, raw and quick in comparison.
When we come back to the scene, David is seen to be trying to distract himself, rationalising that he isn't a werewolf and just needs 'a good meal and eight hours of solid sleep.' He eventually finds a book and starts reading when the transformation starts, aligning with the film. In the film, David cries out before collapsing on the floor as if he has a migraine; in the radio adaptation, he seems to be struck by a lorry because of how sudden it is, which is a nice detail of what a migraine could feel like. I love the sound design as while David pleads out during the transformation, his voice distorts to inhuman lows and eventually into animalistic, lupine cries, David is crying out for Jack and forgiveness. This is a nice touch, as it illustrates the pair's deep friendship as best friends and suggests that David feels that the transformation is revenge for Jack being killed. This builds character for David, showcasing that he is remorseful, and prompts the listener to feel sorry for him.
The subsequent murder spree was relatively unchanged, with the couple and doctor, homeless people, and businessman all being killed in manners like the portrayal in the film. The sound design is quite visceral and gruesome, but perfectly illustrates the scene of the werewolf attacks in the listener. I love the extra mile it goes for the same effect as the film. The voicemail message at Alex's flat is also endearing, with Alex starting it as normal until David interrupts with a joking howl.
The following scene, preceded by another one with Dr Hirsch, is expanded, opening with the sound of David snoring while a child pesters his mother about where the wolf pen is, illustrating that David is in a zoo. Of course, this is necessary for an audio drama, and it flows nicely with another child commenting that he can 'see his willy', David is naked, and the mother is mortified. I found it funny that the child mentions as they're led away that 'it wasn't that big anyway.'
David then wakes up among the wolves, who snarl at him. He gets out the pen unharmed though. I like how David's voice is audibly nervous, given his confusion and the fact he's naked.
David later has a conversation with the same boy, hidden in a bush, while the boy gets him (once convinced) a coat stolen off a bench. Fairly like the film, just expanded. Again, it's nice.
There's a town crier, too, a new addition. He's calling the full moon murders, half-devoured, that of the 'new Jack the Ripper.' Nice detail of media sensationalism.
David then shows back up at Alex's flat, and it's like the film scene. David is not very lucid and is behaving similarly to a wolf in heat. He later laments that he feels 'like an athlete.' I just find his interactions funny, if I'm honest.
Later, in the same scene, David learns of the eight murders and gets cold feet while in the cab, and Alex follows him, concerned. One interesting, but minor detail changed is 'Rational? I'm a fucking werewolf, for Christ's sake,' which is changed in the for-radio adaptation to 'Rational? I'm a freaking werewolf, for Christ's sake.' This would consider that the adaptation was broadcasted on live radio, it's just strange that line was censored while various sexual references and a full-on sex scene were not.
As we see in the porno theatre, the sound design once again shines. There's the blaring sound of the porno playing while David converses with Jack and the eight victims. One thing that lets it down though, I'd say, is that Gerald, the businessman, delivers the line; 'You've left my wife a widow and my children fatherless; And, I understand, I am to walk the earth in limbo – one of the living dead – until the wolf's bloodline is severed and the curse lifted,' is less impactful in the audio drama versus the film. It feels rushed, unlike in the film where Mr Bringsley is audibly more hateful of David, his voice dripping with disdain much like his neck is with blood.
Harry Berman and his fiancée, Judith Browns, are pretty much as jovial as they are in the film. Harry even jokes to David 'I'd shake hands but you tore off my arm' in the same jovial manner. I love that addition in the audio drama.
I love the added exposition that Dr Hirsch gives about the lycanthropic curse being of Eastern European origin, expanding on the lore and mentioning that his ancestors were from the same area and relied on superstition to survive. Alex questions the origin of the people of East Proctor, to which Dr Hirsch explains that 200 years ago they migrated from eastern Romania; It's a great explanation of the origin of lycanthropy in the UK and raises questions such as how the curse survived in plain sight.
The ending between the made-for-radio audio adaptation and the original film is similar but distinct. While David is still killed at the end, George dares him to bite, before David is shot, in the audio adaptation. This is an interesting change, as in the film, Alex tries to coax David out gently before he pounces and gets shot.
In conclusion, the made-for-radio audio adaptation of 'An American Werewolf in London' offers a fresh and immersive take on the classic horror-comedy film. While the original movie is a beloved classic, the audio adaptation distinguishes itself by expanding upon the narrative, character relationships, and lycanthropic lore. The sound design in the adaptation is particularly praiseworthy, effectively conveying the tension and horror throughout the story. It also pays attention to subtle details, such as animals sensing the supernatural and the characters' Jewish backgrounds, which add depth to the story.
The adaptation brings out the humanity of the characters, especially David, as it delves deeper into his struggle with the transformation and his relationship with his friend Jack. This exploration evokes empathy from the listener and adds another layer to the narrative. Additionally, the adaptation introduces new elements, such as a town crier reporting on the full moon murders, which contributes to the story's atmosphere and world-building.
While some elements of the adaptation differ from the original film, such as the final confrontation between David and George, these changes offer a unique perspective and contribute to the adaptation's distinct charm. The pacing is a lot faster with the radio drama versus the film, which is a great change.
If given a star rating, I would give it a 4.5/5.
In summary, the 'An American Werewolf in London' made-for-radio audio adaptation is a commendable and immersive rendition of the classic horror-comedy. It successfully captures the essence of the original while providing a fresh and engaging listening experience for fans and newcomers alike.
