SCREAM OF THE WOLF (1974)

Director: Dan Curtis

Writers: Richard Matheson adapting the novella “The Hunter” by David Case

Producer: Dan Curtis

Cast: Peter Graves, Clint Walker, Jo Ann Pflug, Philip Carey, Don Megowan, Dean Smith, Lee Paul, James Storm, Bonnie Van Dyke, Brian Richards, Randy Kirby, Tom Dever, Vernon Weddle, Bill Baldwin, Orville Sherman, Douglas Bungert, Grant Owens, Chuck Hayward, Ken Stimson 

In Monterey County, California, a series of slayings leave the human victims horribly mutilated. Sheriff Vernon Bell (Philip Carey) asks local author and retired hunter John Weatherby (Peter Graves) to examine the tracks found at the death scenes. Despite his vast hunting experience, Weatherby can’t identify the species responsible for the killings. The path of the footprints seems to change from tracks of a four-legged, wolf-like beast to a bipedal creature before they disappear. The strange creature also has changed its scent. Another hunting authority and past friend of Weatherby’s, Byron Douglas (Clint Walker), is fascinated by the grisly deaths and the panic they instill in the community, but he refuses to offer any assistance tracking down the bloodthirsty creature. 

The Flashback Fanatic movie review 

During the 1970s heyday of the made-for-TV movie, the horror genre was well served. No one primed that bloody pump better than producer-director Dan Curtis. He made a name for himself as the creator of the afternoon Gothic soap opera series for ABC TV, Dark Shadows (1966-71). He then produced the massive ratings winner The Night Stalker (1972) and directed its hit sequel, The Night Strangler (1973). More Curtis-helmed, televised terrors would follow. In 1974 he collaborated again with his Stalker/Strangler scripter, Richard Matheson, to make the overlooked and peculiar Scream of the Wolf. 

At first it seems as though things are off to a frantic and familiar start. People are attacked at night and the police arrive with sirens blaring only to pick up the bloody pieces. However, unlike other contemporary horror films influenced by The Night Stalker, law enforcement, represented by Sheriff Bell, accepts that this is no ordinary series of crimes and admits to not having any idea what is responsible. Bell immediately seeks the help of experienced hunter John Weatherby. The relationship between the sheriff and our hunter hero is cordial. 

Aside from the challenge of trying to track and kill the murderous creature, the main conflict for protagonist John Weatherby is with his old hunting pal, Byron Douglas. They drifted apart when Weatherby settled into a more domesticated lifestyle as a writer. Byron has always been the more extreme of the pair in his hunting mania. Byron’s life philosophy is based on hunting. He thinks that life is never more precious than at the moment of potential death for both hunter and prey. Byron also thinks that society is emasculating, and he implies that this has happened to his old friend John. 

As the killings continue in rapid succession, the rumor is spreading that the killer may be a werewolf. This further amuses Byron and he enjoys the panic spreading throughout the community. Byron thinks that the civilized locals are actually made to feel more alive by their fear. Both John and Sheriff Bell become increasingly irritated with Byron’s lack of concern and refusal to help. 

John’s girlfriend, Sandy Miller (Jo Ann Pflug), has always been creeped out by Byron. She suspects that Byron is involved with the killings. When John tries to explain his old friend’s hunter philosophy, he recounts an old hunting experience that left Byron badly wounded by a killer wolf. This only increases Sandy’s suspicions about John’s old, hunting buddy. 

There is a very intriguing friction between the characters of John, Byron, and Sandy. Former friends John and Byron have gone their separate ways. Initially, we are led to believe it may simply be changing priorities in John’s life as he transitions from avid hunter to author. Sandy’s apprehension about Byron may be more personal than just her distaste with his hunting fanaticism. She fears that Byron may lure John away from the domestic security of their relationship. 

Others have speculated that there is a homoerotic aspect between the characters of John and Byron. Once I was made aware of that speculation, it makes everything about the behavior of those two characters seem much less arbitrary. Also in the context of the times this story takes place, that sexual undercurrent being either indulged or suppressed by those characters informs their behaviors and justifies their conflict. It is a rather edgy concern for a ’70s made-for-TV movie that really adds depth to the attitudes of John, Byron, and Sandy. 

Peter Graves and Jo Ann Pflug were familiar television faces of the era. Graves will always be remembered as espionage operative Jim Phelps in the CBS network television series Mission: Impossible (1966-73), as well as in its ABC network revival series (1988-90). Pflug previously starred in producer-director Dan Curtis’ The Night Strangler. 

Clint Walker was perfectly cast against type as eccentric and unsettling hunter Byron Douglas. Walker had a long history of playing heroes in Western films and as the star of the ABC network television Western series Cheyenne (1955-62). Walker seems to really enjoy himself as Byron. He displays a smug air of superiority and contrariness to all around him. Walker’s Byron likes baiting others with his insight into the local menace while withholding any assistance. Walker’s huge stature and the gleam in his eye when he vents Byron’s passion for hunting make him a very intimidating presence. 

An interesting bit of casting is another towering actor with some horror genre credentials. Don Megowan plays Grant, Byron’s hired hand. Megowan was the Gill-man on land in The Creature Walks Among Us (1956), had starred as the hero of another werewolf-centric movie in The Werewolf (1956), and portrayed the Frankenstein Monster in the 1958 unsold pilot for the proposed television series Tales of Frankenstein. 

As always, director Dan Curtis makes things interesting and energetic with his shot choices and camera moves. He is ably assisted by the music of his frequent composer, Robert Cobert. This results in a film that keeps me just as captivated with the dialogue scenes as with the killings. Its intriguing perspective is that of John Weatherby trying to figure out just what the hell he is dealing with, which is just how anyone would have to approach this bizarre situation in real life. We are not allowed to get ahead of the hero tracking down the menace. With its rapidly rising body count, elusive threat, and unique character dynamics, Scream of the Wolf is one of my favorite TV terrors.