Paul Naschy: Werewolves of Poland & Other Monsters

REQUIEM FOR A WOLFMAN

An overview of actor, writer & director, the late Paul Naschy

I'm a bit late getting around to this, but as has already been widely reported within horror film circles and forums around the net, Paul Naschy is dead at 75 after having succumbed to cancer Monday night, December 1st. He was buried Wednesday in the Spanish city of Burgos, the hometown of his adoring wife, Elvira Primavera.


Having lived a long life filled with struggles, exuberance and sometimes harrowing events, Naschy (Jacinto Molina) became enchanted by the horror genre in both book and film during the early 1960's helped along by authors such as Stoker and Lovecraft. But prior to this fascination with the macabre, Naschy had found time to be a gymnast, a seven time weightlifting champion (beginning in 1958) and a stint in the Army among other equally memorable highlights. Naschy also narrowly missed representing Spain in the 1964 Olympics. Due to politics and ineffectual decision making by those that disliked him, Naschy was unable to partake in the renowned sporting event.

Naschy the mad guru in VENGEANCE OF THE ZOMBIES (1972)

Having always been passionate about movies of various genres, especially westerns, the enterprising Naschy made THE FURY OF JOHNNY KID in 1967. Not long after, his passion for sagebrush sagas was being usurped by creepy castles and supernatural creatures of the night. He also was overjoyed to be given the chance to work with one of his idols, Boris Karloff, on an episode of the American television program, I SPY in 1966.


Naschy became immersed in films deeply rooted in Gothic trappings; not just the shadowy and fog enshrouded stages of the Universal horrors, but those from Britain's Hammer Films. It was in 1967 that he wrote the script for THE MARK OF THE WOLFMAN, a production that almost didn't get made and a script that was met with much trepidation from doubtful producers. "It started going around that a hair brained muscleman was on the loose with the idea of making a vampire movie, with a werewolf in it to boot, when everybody knew that only the Americans or the British could make that kind of picture."

The oddly US titled FRANKENSTEIN'S BLOODY TERROR from the original MARK OF THE WOLFMAN (1968)

Seeking advice with Amando de Ossorio, the future director of TOMBS OF THE BLIND DEAD (1971), told Naschy he was too muscular to be an actor. However, hope finally came when the ambitious performer got word that both a Spanish and German production company held interest in mounting his wolfman production. However, several problems arose.

This pic and the next: FRANKENSTEIN'S BLOODY TERROR

First, his wolfman couldn't be Spanish and any religious, sexual or graphic violence had to be toned down. Soon after, the Polish wolfman, Waldemar Daninsky was born.


When the project was nearly derailed after Lon Chaney Jr. was unable to partake in the lycanthropic role, Naschy was fated to appear as his most recognized character in Spanish horror cinema. MARK OF THE WOLFMAN was also notable in that it was professed to be the first werewolf picture to feature the lead monster with upper fangs (maybe the first European one). With the impending international release of the actors maiden monster movie, it was around this time the nom de plume of 'Paul Naschy' was born. Spying the name 'Paul' in a newspaper and utilizing the name of one of his weightlifting friends, Imre Nagy, the name Paul Naschy would adorn countless Spanish horror pictures for the next two decades.

Holding back the vampires in the cult favorite, WEREWOLF SHADOW (1970) aka WEREWOLF VS. THE VAMPIRE WOMAN aka LA NOCHE DE WALPURGIS

Next up would be the troubled production of THE NIGHTS OF THE WEREWOLF (1968), a film that has since become lost and apparently only a few stills taken from the film are in existence. The picture dealt with a diabolical scientist trying to control Daninsky, the werewolf. Then came ASSIGNMENT TERROR (1968), another rocky production that became a bizarre mix of science fiction and horror. Among the cast was Michael Rennie (THE DAY THE EARTH STOOD STILL) and spaghetti western actor, Craig Hill (I WANT HIM DEAD).

Naschy, the hunted from HUMAN BEASTS (1980)

I am curious if this film wasn't some sort of inspiration for Fred Dekker's THE MONSTER SQUAD (1987) as Naschy's ambitious movie featured a vampire, a mummy, a werewolf and Frankenstein's monster. It was also during this films making the iconic writer and actor would meet a mysterious woman who would introduce Naschy to a night of true horror that would later lead to some devilish entries bereft of Naschy's usual collage of monsters.

WEREWOLF SHADOW (1970)

THE FURY OF THE WOLFMAN (1970) followed and featured a story akin to the lost production of THE NIGHTS OF THE WEREWOLF. Involving another evil scientist, it also featured a female werewolf in this less than stellar picture which went through two different directors culminating in one of the actors most disastrous cinematic endeavors.


More werewolf movies followed such as the atmospheric and internationally successful fan favorite, WEREWOLF SHADOW (1970), DR. JEKYLL & THE WEREWOLF (1971) and CURSE OF THE DEVIL (1973) among others. But it was a terrifying real life encounter with devil worshippers that no doubt inspired Naschy for his subsequent writing (and acting) chores on such pictures as HORROR RISES FROM THE TOMB (1973), DEVIL'S POSSESSED (1974) EXORCISM (1975) and much later, PANIC BEATS in 1982.

Naschy exorcises a possessed young woman in EXORCISM (1975)

In 1972, Naschy would undertake his sole interpretation of the legendary character of Dracula in COUNT DRACULA'S GREAT LOVE. Yet another production rife with problematic occurrences, it nonetheless is a bizarre, yet extremely atmospheric motion picture which many fans adore although I find it on the nonsensical side.

Gotho cuts a corpse from HUNCHBACK OF THE MORGUE (1972)

The same year would see Naschy tackle a role near and dear to his heart. THE HUNCHBACK OF THE MORGUE saw the esteemed horror veteran play the character of Wolfgang Gotho, the hunchback of the title. The film dealt with this pitiable fellow loving a woman beyond death. In the film, Gotho helps a mad scientist on the pretense that he will restore his beloved to life. However, only once the deranged doctor brings his own horrific creation to fruition.

Rats eat away at Gotho's dead girlfriend in HUNCHBACK OF THE MORGUE

The film is notable for a sequence wherein Naschy allows a pack of starving rats to bite him for the authenticity of the scene. The actor took the precaution of wearing protection from the creatures, but still felt pain from their ravenous teeth. Another harrowing point of note is that originally a real corpse was used for the decapitation sequence. Naschy became queasy upon making the first cut so a fake head was created for the scene.

HUNCHBACK OF THE MORGUE (1972)

The film won numerous awards for the actor and led to his meeting both Peter Cushing and Terence Fisher. The latter was interested in using Naschy in an updated version of DR. JEKYLL & MR. HYDE, but that promising team up eventually fell by the wayside.

A typical conclusion this one from NIGHT OF THE WEREWOLF (1980) aka EL RETORNO DE HOMBRE LOBO

Next was one of the man's wildest excursions into the world of horror movies. Naschy himself proclaimed he must have been on some kind of drugs for his participation in this production. The film in question is VENGEANCE OF THE ZOMBIES (1972) and it's excesses can be perceived as either working in its favor, or against it. You be the judge. Naschy revisited zombie territory with BEYOND THE LIVING DEAD the following year. It was recently released on R1 dvd under one of its alternate titles, THE HANGING WOMAN.

The stunning Helga Line and Paul Naschy remove the heart of one of their victims in HORROR RISES FROM THE TOMB (1973)

Naschy would also add a violently gory mummy movie to his resume with THE MUMMY'S REVENGE in 1973 as well a Giallo entry entitled BLUE EYES OF THE BROKEN DOLL the same year. The latter was more famously released as HOUSE OF PSYCHOTIC WOMEN. Also this year would herald one of the man's most memorably gruesome pictures, HORROR RISES FROM THE TOMB. Here, Naschy plays a sadistic sorcerer decapitated along with his female accomplice (played by beauty, Helga Line). He returns centuries later to exact revenge on the descendants of his executioners.

1980's NIGHT OF THE WEREWOLF aka THE CRAVING aka EL RETORNO DEL HOMBRE LOBO

1975 saw Naschy return to werewolf territory with one of the most lively, bloody and action packed of his lycanthropic monster movies. NIGHT OF THE HOWLING BEAST was an unusual entry in that Naschy's character of Waldemar Daninsky does not die at the end. Ripe with gore and action, the film features impalements, throat rippings, flesh eating and a nasty scene of skin flaying. The plot deals with an expedition to see if the legendary Yeti exists, but the group run afoul of Mongolian bandits led by their evil queen.

WEREWOLF SHADOW (1970)

The actors transformation into the wolfman is unusual this time out as he and a companion become lost and end up in a cave with two gorgeous women. After having sex with both, our hero awakens to find the two girls feasting on his friend. Being bitten in a scuffle, these two cannibalistic women endow Naschy with the powers of the famed Polish wolfman. By the end of the film, the Yeti makes his belated appearance scuffling with Waldemar in the snow for a minute or two before 'The End' is plastered on screen.

NIGHT OF THE WEREWOLF (1980)

The actor soon turned to directing and churned out a film dealing with the French Inquisition entitled simply enough, INQUISITION in 1976. In 1980, the writer/actor continued his directing gig with one of his favorite roles and another wolfman movie, THE NIGHT OF THE WEREWOLF (aka EL RETORNO DEL HOMBRE LOBO). Essentially a remake of his 1970 classic, WEREWOLF SHADOW (aka THE WEREWOLF VS. THE VAMPIRE WOMAN), the film definitely appeals to the actors dedicated fan base and is brimming with atmosphere. However, as with most of the man's works, that, and his sometimes lively performances are the only saving graces. The finale features a dynamite confrontation between Waldemar and the vampiric Bathory.

Naschy pursued by HUMAN BEASTS (1980)

Also in 1980, Paul Naschy would embark to Japan for a series of Spanish/Japanese co-productions (not all of them horror films) beginning with a tale of crime and cannibalism with HUMAN BEASTS. 1983 would bring to life one of the filmmakers best loved motion pictures and one considered his best movie by many fans. The Spanish/Japanese co-pro of THE BEAST & THE MAGIC SWORD. Considering Japan had their own heritage featuring lycanthropy, it was a bizarre, yet natural marriage between the European and the Nippon style of fantasy filmmaking. Shot at Toshiro Mifune's studios, the large scale production wasn't without its problems which brought some headache for Naschy as both writer and director. When the film premiered, Akira Kurosawa was among the guests and duly congratulated Naschy on wonderfully capturing the Japanese period atmosphere of the time.

Naschy as the Devil from VENGEANCE OF THE ZOMBIES (1972)

Taking something of a hiatus from the fantasy horror genre, Naschy returned to the well of horror with what became one of his most lavish, yet difficult and problem plagued productions to date. HOWL OF THE DEVIL featured the talents of both Caroline Munro and Howard Vernon in what was supposed to be an English friendly film. Difficulties arose which kept the film from ever appearing on theater screens or video in America. For this picture, Naschy played a wide array of horror icons such as Rasputin, Satan, a werewolf, Frankenstein's monster, Fu Manchu, the Phantom of the Opera and Mr. Hyde among others.

Naschy again in one of a few roles from the insane VENGEANCE OF THE ZOMBIES (1972)

During the 90's and into the new millennium, Naschy continued to act in horror productions (he returned to the werewolf role that made him famous with the 1996 film LYCANTHROPUS which got media attention in Fangoria magazine). In 2000, Naschy had all but given up in securing funding for another Waldemar Daninsky production to be entitled THE EYES OF THE WOLF. Regardless, the Spanish king of horror left behind 14 incarnations of his famed wolfman among numerous other iconic horror figures.

Naschy playing the brother (one of three roles) to the vile Alaric de Marnac in HORROR RISES FROM THE TOMB (1973)

Paul Naschy's cinematic influences were American serials, German Expressionistic cinema, Universal and Hammer horror and also those of the Italian style of genre filmmaking. His career is one filled with just as much real life adventure as big screen escapades. Naschy so loved the cinema of the fantastic, he would often portray multiple roles in his horror films as already noted from some of the pictures discussed above.

WEREWOLF SHADOW (1970)

He was able to make acquaintances with many of his screen idols such as Karloff and Christopher Lee as well as numerous acting awards (He received his first Sitges Festival award for his work on the Spanish-Italian co-production, JACK THE RIPPER in 1971) for his work in furthering the exposure of Spanish horror cinema, which, prior to his undying and loyal perseverance, did not exist. Having also dabbled in westerns, crime pictures, comedies and action adventure films, it's the horror movies of Naschy that are most remembered. The late purveyor of Gothic Spanish horror leaves behind an eclectic and distinctive resume of nightmarish terror tales that live on in the hearts and minds of European horror fans around the world.

Paul Naschy quote taken from his autobiography, Memoirs Of A Wolfman

The Rebel Gladiator (1962) review

THE REBEL GLADIATOR 1962 aka URSUS, IL GLADIATORE RIBELLE

Dan Vadis (Ursus), Alan Steel/Sergio Ciani (Marcus Commodus), Gloria Milland (Marcia), Jose Greci (Armenia), Tullio Altamura (Antoninus), Carlo Delmi (Septimius Leto), Gianni Santuccio (Emilius Leto), Nello Pazzafini, Sal Borgese

Directed by Domenico Paolella; Music by Carlo Savina

Villager: "But he wanted to take our women!"

Ursus: "In a way I can't blame him...he shows rather good taste!"

Sergio Ciani after a bloody duel

Stoic Emperor of Rome, Marcus Aurelius has died leaving his sole heir, Marcus Commodus as the new ruler. With Aurelius' dying wish that his son maintain peace, Commodus decides instead to use force and brutality to suppress the frightened people in his kingdom. With Christianity spreading throughout Rome, the maniacal Commodus attempts to wipe out any one associated with the religion. When his village is attacked by Commodus, Ursus, a newfound follower of the Christian faith, easily overpowers the mad Emperor and his soldiers. Greatly insulting Commodus, Ursus' lover, Arminia is kidnapped forcing him to become a gladiator in order for her to be set free. However, it is learned that Commodus was not responsible for her abduction and that a plot within the Senate to assassinate the brutal Emperor is discovered. Despite abhorring violence and transgression, Ursus is pressured to use his strength in an effort to topple the ferocious regime of Marcus Commodus and restore the peace promised by the deceased Marcus Aurelius.

Dan Vadis (left) captured by Emperor Commodus (Sergio Ciani)

Before the Brad Pitt spectacle that was TROY (2004), there was the Italian epic that was THE FURY OF ACHILLES (1962). And before Ridley Scott's GLADIATOR (2003), there was Domenico Paolella's equally interesting and action packed THE REBEL GLADIATOR (1962). Like the classy production of ROMULUS & REMUS (1961), this picture has two slabs of beefcake for the price of one. With both the robotic Alan Steel and the energetically brutish Dan Vadis, there's plenty of grunts, groans, muscle flexing and gorgeous girls filling out the 90 minute running time of this fact and fiction gladiator movie. Also, fans of political spaghetti western director Sergio Sollima will find it interesting that he is one of the three script writers for this movie.


Sword & Sandal veteran, Paolella delivers this curious and exciting entry in the strongman cycle of Italian gladiator productions. One of numerous 'Political Peplums', it mixes fact and fantasy fiction to create an interesting stew of ideas. Paolella was an ace at delivering a lot of action interspersed with a sometimes convoluted storyline without a danger of much lagging in the flow of the movie and THE REBEL GLADIATOR is no exception. The film deals with the rise of the demented Emperor Commodus and the impending presence of Christianity that was not popular in Rome at the time. The theme of religion is also a strong plot point in the more talky, but no less entertaining Political Peplum THE TERROR OF ROME AGAINST THE SON OF HERCULES (1964). No doubt the theme of piety in the Italian Torch & Toga pictures was influenced by the sprawling American 'peplum' production of QUO VADIS from 1951. It was shot at Cinecitta, the famed studio that was home to many of the Italian muscle epics.


The inclusion of Christianity is balanced against that of the brutal conflagration of villages perpetrated by the sadistic Emperor Commodus. While the script is above average when compared to many similar movies, some of the facts have been altered and others have been left alone. The depravity of Aurelius's son is retained, but the true severity of his violence is tempered for the film version. His propensity for partaking in gladiatorial combat is also seen here, but for the movie, Commodus keeps things on equal ground in terms of weapons used if not simply bare hands. The real Commodus was said to have used swords while his opponents were merely given wooden implements with which to defend themselves.

Gloria Milland (left)

Also, Commodus' woman, Marcia, was one of the key conspirators in his assassination while in the film, she tries to dissuade her lover to kill wantonly and doesn't want to see him end up dead even though she knows that for him, there's no other way for him to end. However, there is one rather well shot sequence wherein Armenia sneaks into the Emperor's chamber and attempts to stab him in his sleep. Marcia enters through a curtain from the other side and remains silent yet falls to her knees in tears hoping that Armenia will not kill him. Seeing her crying and hiding her face so as not to see the act, Armenia takes pity and puts away the dagger. The Emperor's actual assassination is changed for the movie, too, presumably for dramatic purposes.


While this movie is an above average picture, it misses greatness with the casting of Sergio Ciani (Alan Steel) as the lead antagonist, Commodus. While Ciani brings the necessary menace to the role, his acting ranges from stilted to sedated. Even when he smiles it looks fake. He's good in the fight sequences, but is unable to convey any true sense of villainy outside of beating men to death or giving orders to have helpless captives speared, or crushed under boulders. Steel featured in a lot of these movies and he's better suited to playing the good guy as he hasn't the range nor the proclivity to pull off a convincing villain.


Then there's Dan Vadis who plays Ursus. Vadis had the capacity to convey good or evil. He was generally good at both. He was one of the more agile of the strongman movie stars and would seem to have participated in most, if not all his own stunt work. He was one of the more successful actors in the genre later making the transition to Italian westerns then onto a string of character roles in many of Clint Eastwood's Malpaso Company movies such as HIGH PLAINS DRIFTER (1973), EVERY WHICH WAY BUT LOOSE (1978) and its sequel, ANY WHICH WAY YOU CAN (1980) among them.

In THE REBEL GLADIATOR, Vadis plays the fantasy character, Ursus, the principle protagonist of a series of at least nine motion pictures. Vadis' entrance in the film is a grand one. As his village is being destroyed, he appears and promptly lays down a thrashing on the oppressive Roman soldiers led by Commodus. This is where the two characters first meet and begins Commodus' obsession with the death of Ursus.

Jose Greci

Also amongst the cast are two of the most beautiful and prolific of the peplum/fusto female stars. Jose Greci, as always, plays the hero's love interest. A striking beauty with alluring eyes, Greci appeared in around a dozen of these movies including notable entries such as GOLIATH & THE SINS OF BABYLON (1963), HERCULES AGAINST THE MONGOLS (1964) and its followup, HERCULES AGAINST THE BARBARIANS (1964). Greci sometimes was billed as Susan Paget.


Gloria Milland is the other attractive woman sharing the screen with Greci. Milland was sensual presence on screen and also appeared with Greci in HERCULES AGAINST THE BARBARIANS. Milland sported blonde locks for the immensely entertaining GOLIATH AGAINST THE GIANTS (1961).


Even though the picture utilizes a fantasy character amidst its historical trappings, Paolella's movie would be tedious without the inclusion of the mythical muscleman. Ciani is simply not capable enough to carry a film about such a maniacal and interesting man of a bygone era. But then, THE REBEL GLADIATOR (1962) is just as much concerned with combat sequences as it is court intrigue. The movie offers an abundance of fight scenes including two between both Commodus and Ursus with the second duel being an exciting piece of choreography. While it takes about 15 minutes for the film to truly gain its stride, fans of sword and sandal should enjoy this entry in the gladiator sweepstakes starring two of the more recognizable stars of the genre.