Skip to main content

The Werewolf and The Yeti

Paul Naschy (born Jacinto Molina Alvarez) is a cult icon and one of the most significant figures in the history of Spanish Horror cinema. He is best known for his twelve “Hombre Lobo” movies, featuring the tragic werewolf character, Waldemar Daninsky (played by Naschy himself). The Werewolf and The Yeti AKA Night of the Howling Beast AKA Curse of the Beast AKA Hall of the Mountain King (!), is the eighth in the series, and was directed by Miguel Iglesias, under the alias M.I. Bonns. Made at a time when Spanish horror films were starting to fade out of popularity after their ‘Golden Age’ in the early Seventies, The Werewolf And The Yeti would be the last Daninsky picture for several years, until Naschy returned in 1980 with El Retorno del Hombre Lobo/Return of the Wolf Man; one of his own personal favourites.

The Werewolf And The Yeti’s pre-cert VHS release was banned in the UK by the BBFC under the Video Recordings Act of 1984, and was featured on the “Video Nasties” list. Interestingly, although the film would be one of several titles quickly dropped from the Video Nasty list, and despite many of the titles on the original list finally achieving release anyway, The Werewolf and the Yeti has never been released in the UK – it remains unavailable to this day. The version I watched was acquired online and had no English subtitles or dubbing, but the quality of the film was surprisingly good. 



The plot revolves around intrepid anthropologist and doomed werewolf-to-be Waldemar Daninsky as he joins an expedition to Tibet in search of Yetis. Becoming stranded at a hotel during a snowstorm Waldemar and a guide who claims to know a secret path through the mountains, decide to chance it and head out into the storm. They eventually become lost in the snow-covered terrain and the guide does a runner, leaving poor Waldemar to the mercy of the elements. Wandering about in a snowstorm-induced daze, it isn’t long before he happens across a cave in which he takes shelter. Exploring its Mario Bava-lit depths, he happens upon two sisters who ‘revive’ him by performing various sexual acts. Unfortunately, they also turn out to be cannibalistic vampire-witches who feast on the flesh of their lovers. Waldemar manages to dispatch them, though not before he is bitten by one of them, and subsequently infected with ‘the curse of the beast.’ We eventually get to the battle of the title, as Waldemar turns into a werewolf and has an action-packed, leap-attack fuelled tussle with the yeti. Waldemar is wounded, but as luck would have it, he is cured by the blossom of a mystical flower and is able to wander off into the sunrise, misty-eyed and hand in hand with his true love.



Naschy was apparently not particularly happy with The Werewolf and The Yeti, citing the likes of Miguel Iglesias’ direction, and the lack of brooding intensity and tragic malaise that permeated the prior Daninsky films, as its major flaws. While it apparently fell short of the grand scope Naschy envisioned, he received the best actor award at the 1975 Sitges Film Festival for his performance, and The Werewolf and The Yeti remains a much sought after rarity amongst fans. Given that Naschy sadly passed away last year, and the huge cult following he has, the time for a release of his work in remastered form, maybe presented in a box-set, laden with extra-features – including a release of this title – is now.

Shout out to Jenn over at Cavalcade of Perversions – the biggest Paul Naschy fan I know.
Labels:

Popular posts from this blog

The Ash Tree

1975 Dir. Lawrence Gordon Clark Part of the BBC’s annual series A Ghost Story for Christmas , which ran from 1971 to 1978 and featured some of the small screen’s most chilling moments, The Ash Tree was the last of several MR James adaptations directed by Lawrence Gordon Clark. Written for television by David Rudkin, It stars Edward Petherbridge in the dual role of Sir Richard, an 18th century aristocrat who inherits the vast estate of his late uncle, and of Sir Matthew, his 17th century ancestor whose role in local witch trials, and the death of Ann Mothersole (Barbara Ewing), haunts Sir Richard.  With a slim running time (just over 30 minutes) The Ash Tree is one of the shortest entries in the series, but it is also one of the densest. The amount of detail and information packed in, without compromising or diluting the impact of the source material, is admirable. Clarke manages to convey events and flashbacks by utilising an interesting narrative structure and some ...
Read more

Mandrake (2022)

Mandrake tells of probation officer Cathy Madden (Deirdre Mullins), who is assigned to help with the rehabilitation of recently released ‘Bloody’ Mary Laidlaw (Derbhle Crotty), who had been incarcerated years prior for the murder of her abusive husband. Rumours have long swirled in the local area concerning Mary’s dabbling in witchcraft and involvement in cases of missing children. No sooner has she been released, than the bodies of several local children are found in the woods near her farmhouse. As Cathy and local police delve deeper, the veil between real and imagined starts to fray and Cathy is drawn into a dark world of occult ritualism and blood sacrifice. Directed by Lynne Davison and written by Matt Harvey, Mandrake is a delicious slice of witchy, Northern Irish folk horror, dripping with atmosphere and arcane lore. While Irish horror is having a moment right now, with acclaimed titles such as Aislinn Clarke’s Fréwaka and Kate Dolan’s You Are Not My Mother mining rich and cr...
Read more

Kensal Green Cemetery

During a recent visit to London, a friend and I decided to explore Kensal Green Cemetery in the west of the city. Founded as the General Cemetery of All Souls by barrister George Frederick Carden in 1833, Kensal Green was inspired by the garden-style cemetery of Pere-Lachaises in Paris. Comprised of 72 acres of beautiful grounds, it was not only the first commercial cemetery in London, but also the first of the ‘Magnificent Seven’ garden-style cemeteries established to house the dead of an ever-increasing population. Campaigners for burial reform were in favour of “detached cemeteries for the metropolis” and in 1832 Parliament passed a bill that led to the formation of the General Cemetery Company to oversee appropriate measures and procedures concerning “the interment of the dead.” The company purchased land for the establishment of Kensal Green in 1831 and held a competition in order to select an appropriate designer. Among the prerequisites in the brief provided to entrants, we...
Read more