An American Werewolf in London 4K 1981 Ultra HD 2160p

Story Movie

Two carefree American tourists were warned that there were dashing places in old England, which were extremely dangerous to travel. But the cheerful overseas guys did not heed the warnings of the local residents and in the dead of night, illuminated by the deadly moonlight, left the road. An indescribable nightmare awaited them in the darkness, after which one of the friends was destined to become a ghost, and the other - a bloodthirsty werewolf.

Review 4K Movie

Who didn't curse American tourists, who didn't curse them? In the case of David and Jake, the Zeitgast-cut optimists, the world's irritation finally materialized - into a werewolf from the British hinterland. The results are as follows: Jake is torn to pieces, David wakes up in a London hospital, scarred, but without appetite. A little later, shreds of a deceased friend visit him and ask David for an urgent suicide, because, they say, he is no longer a man - he is a beast.

Until they were not seriously believed in, werewolves were the main and, perhaps, the most elegant argument in favor of the idea that homo homini is still lupus est, and sometimes the neighbor does not love his neighbor, but eats. Centuries have passed with a brave march, primitive fear shamefully surrendered to common sense, Latin died, however, without resting, and werewolves degraded to pitching in T-shirts and Lukyanenko's secondary characters, but only international wisdom remained. Remained and still hangs dangerously low over the universe with the sword of Damocles, as if Pelevin assured us with the lips of the spirit of Che Guevara that, friends, capitalism is in the yard, and for a long time there is not a proverb about a wolf, and a man has disappeared somewhere ... No, both are with us; both - we are.

The American Werewolf in London, John Landis, is standardly praised for its grandiosely monstrous make-up, for unobtrusive banter over the equally nasty American monkey tourism and British elephant arrogance, for how remarkably contrasted with the deterministic simplicity of the gloomy finale, the extreme major song on the credits. Leaving aside all these well-deserved and long-standing applause, let's challenge the last and most important classic belief about the film: American Werewolf in London is the first comedy horror film. This is not a movie at all, where it is scary and hi-haha. This is a lycanthropic horror without lycanthropy and without horror: the title character himself crawls into the frame only a couple of times, and from the occasional scraps of the deceased he pulls from the crypt with tales. This is a comedy without laughter and without smiles: it is from each cheerful, playful remark, as well as from the monopenisual cheerfulness of the film in general, that it gives off a lead, almost poetic sadness.

It is - let’s say this inappropriately ominous word - tragedy; reflection reigns here. A battle between conscience and animal instinct, a battle between love for others and for oneself. Man is really a wolf to man - man against, wolf against, living against, dead against, but life and death themselves are for, and they are stronger. No one is to blame, nothing can be done. All that remains is, following Landis, to sing, dance and laugh; crying, as another film teaches us, filmed, in essence, about the same, can only be done alone.