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This magazine changed my life. It introduced me to the world of fantasy, horror, science fiction and great literature. Unable to see most of the movies I discovered in its page I read the books. As a result I developed a love for books that grows year by year. Of course one of the books I read was Guy Endore’s THE WEREWOLF OF PARIS, supposedly on which Hammer’s THE CURSE OF THE WEREWOLF was based. The book was purchased by Hammer, yes. However when the studio got down to making the picture they used some of the book’s themes but took the film in a new direction. THE CURSE OF THE WEREWOLF was its star, Oliver Reed’s, favourite of all his picture. The Brit Censor demanded so many cuts that what hobbled to the screen was a pale reflection. Needless to say, the print in my program (from The CineForum Archive) is the film Hammer wanted us to see.

7pm Thursday, April 23, The CineForum, 463 Bathurst, Toronto, M5T 2S9. 416-603-6643.

https://en.wikipedia.org/wiki/The_Werewolf_of_Paris

https://en.wikipedia.org/wiki/The_Curse_of_the_Werewolf

A company that handled projection and sound for major motion picture theatres told me that while the theaters would have one theater that was state of the art for the producer to see their picture in they five and dimed on the other theaters in the chain.

The sound system at THE CINEFORUM is designed for one person: me.

People experience movies here the way I want to experience them.

I had never heard of serialism ( https://www.youtube.com/watch?v=CyfE8I9v-9s  ) until I listened to David Huckvale speak on THE CURSE OF THE WEREWOLF composer Benjamin Frankel: https://en.wikipedia.org/wiki/Benjamin_Frankel . What I learned made me want to learn more.

THE CURSE OF THE WEREWOLF score:

https://www.youtube.com/watch?v=m66ubpR-cP0

Here are posters and pressbooks for THE CURSE OF THE WEREWOLF.

 

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