El Retorno del Hombre Lobo, or The Return of the Wolfman, as it is more commonly known in North America, is the ninth entry in the Waldemar Daninsky series of films starring Paul Naschy. Released in 1981, during a time when horror was undergoing a transformative phase with the rise of the slasher and character-centric films starring monsters like Jason and Freddy, Naschy, who wrote and directed this outing, would stick to the familiar. A mistake? Perhaps, perhaps not, but still an enjoyable film, regardless of its content.

Some viewers may think this movie was filmed twenty years ago. The only thing that tells the audience that it was not would be the setting of the picture, which, after the time jump, takes place in the present. That being said, those telltale clues soon disappear, though, as the bulk of the movie takes place in Daninsky’s castle, which is not a bad thing. As a whole, this is a very old-fashioned horror film, one that feels dated and looks dated, even though it was released in 1981. For those who enjoy Universal monster movies, Hammer Studio films, or even the rest of the Daninsky pictures, one will definitely not be disappointed by this. With a werewolf on the prowl and the big bad being Elizabeth Bathory, with vampires claiming victims, blood rituals and more, there is a lot to love in this film, and Naschy is there to guide it all.

The entire affair moves along at a good pace, measured but sure, and, being the ninth movie in a series, turns out to be one of the better ones in terms of special effects and direction. Naschy outdid himself in this affair, not in story perhaps, as there was nothing especially new here aside from the melding of the past and present, but in presentation. The atmosphere is exactly what is needed for this film, having both a charming and gothic air about it that is disarming at times but also dangerous, especially when Bathory and the vampires are at large. One knows immediately that something is going to happen when they come on the scene, and not only is it the entire atmosphere of the picture that makes it work, but the score as well. The opening track is far more modern than perhaps any other seen in a Daninsky picture up to this point. Still, it works exceptionally well and lets the audience know that they are in for something slightly different, despite the familiarity of it all. As for the special effects, the transformation scenes where Naschy turns into the werewolf are among the best put to film, showcasing what is possible when a few extra dollars are invested.

While it was good to see Daninsky and his werewolf alter ego, the movie also featured numerous beautiful women, including Julia Saly as Elizabeth Bathory and Silvia Aguilar as the woman who brings the Countess back to life. Azucena Hernandez plays the love interest, Pilar Alcon plays a friend of the other young woman, and Beatriz Elorrieta plays a servant in the castle. Each of them is interesting in their own right, but it is Bathory who should have been front and center, and the fact that she was more of an afterthought for most of the picture was somewhat disappointing. Still, the battle at the end of the film was worth the wait, and though not all the players involved ended well, it was a good time for the audience.

Whether for fans of the genre, for Nashy, for werewolves, or what have you, The Return of the Wolfman, or The Craving or Night of the Werewolf, as it has also been called, is worth watching.

3.5 out of 5