YEAR 1981 directed by john landis

STARRING david naughton, griffin dunne, jenny agutter

Qs: 10.  AR: SSSSSSSSSS

N      0:16:12.  Poor Jack is torn to bloody tatters.  I need not say by what.  When guys from the pub arrive to kill the creature and save David, the creature turns back, wounds evident.  SR: SSSSS

N       0:25:15.  It’s fast so watch carefully – David attacks and rips the throat from a deer.  SR: SSSSS

N      0:31:50.  David has a terrible and surreal dream.  There’s a gentle knocking at the door and his father goes to answer it.  When he opens it to see who it is, he’s immediately gunned down by auto fire from two wolf-Nazi types.  They storm the house, shoot up everyone and set fire to the place before slicing David’s throat open – after they let him watch everything.  SR: SSSSS

N      0:32:46.  David wakes and tells the nurse of his nightmare.  She says she has the perfect thing and goes to open the curtains.  When she does, who’s there but one of the wolf-Nazi types who stabs her repeatedly – before David wakes for the second time.  SR: SSSSS

N      0:33:36.  Jack shows up in David’s room – throat and face almost completely torn to shreds, red everywhere.  As Jack chats with David, watch for the tatters to jiggle and shake.  SR: SSSSS

N      0:58:47.  It begins, the landmark sequence that won a man (Rick Baker) the very first Academy Award for Best Makeup Effects.  David is quietly reposing at home, reading a magazine.  All of sudden, he feels terrible sensations from somewhere he doesn’t know.  Immediately tearing off his clothing, David screams that he’s “burning up.”  Then, the center of his hand only, not the fingers, starts grossly elongating while hair sprouts up all over his back and arms.  His feet are the next to transform, stretching horribly while the general pain of becoming a werewolf worsens.  His hair growth increases dramatically while the bones and muscles of his back start mutating, his fangs becoming ever more pronounced.  Finally, his face and ears start changing, becoming less human and more lupine, the metamorphosis into werewolf completing its final stages.  SR: SSSSS

N      1:02:18.  The changed David tears apart a couple en route to a friend’s place.  Their friend, suspicious at commotion outside, investigates and finds what remained of the man’s arm.  SR: SSSSS

N     1:12:30.  JFF: A newspaper article details David’s latest exploits.  Pause at the mark and scan the text – it has nothing to do with the headline, werewolves, or anything of any relevant sort.  J

N      1:22:30.  Jack reappears to David, looking worse with every sighting.  His skin is all black and he’s started to decompose noticeably around the mouth, the flesh of his lips gone, his teeth permanently bared.  Jack introduces David to the six people he killed the other night, all of them bloody messes quite displeased with their recent deaths.  The ludicrousness of the scene intensifies as the murder victims, covered in blood, chat about how David might kill himself to put an end to the curse and allow their undead souls to rest.  SR: SSSSS

N      1:28:13.  It’s dimly lit, but you can just make out a mutilated body that the officer first finds and later the second, actively being chewed on by David in plain sight.  SR: SSSSS

N      1:29:28.  David bursts through the theater gate and bites the head off of a man, throwing it on the hood of a car to bounce off into the street.  In the ensuing chaos of the mixed efforts of people trying to get out of its way and those trying not to slam into it with their automobiles leaves many more dead, a number thrown through their windshields to be run over in the street by other cars or smashed between out of control vehicles as in the case of a particularly unfortunate officer.  SR: SSSSS

YEAR 2000 directed by stefan ruzowitsky

STARRING franka potente, benno fürmann, anna loos

Qs: 8.  AR: SSSSSSSSSS

N       0:6:58.  At a hair shy of exactly seven minutes into the film, we encounter its most conceptually horrifying scene.  A young man, maybe mid-twenties, wakes slowly, blinking repeatedly and trying his best to articulate his jaw to ask the classic “Where am I?”  Very soon after, he gathers elements in a short series of chilling clues that lead to one undeniable reality.  He sees men who look like doctors congregated about him and he picks up that he’s on an operating table.  He watches one of the gown-clad men taking an organ over to a cart and placing it upon it, adding to the pile of parts that also included certain ribs.  Craning his neck, he managed just to catch the handles of over half a dozen clamps jutting from a crater in his chest that the other doctors were busily fiddling around in.  It hits him like a train at 8:10 that essentially he’s being autopsied while still alive.  Continuing to assess the situation, he looks to his left and sees fingertips.  Looking further, he figures out with unprecedented horror that as he commanded them, they moved.  Once he knew it was his arm, bracelets of flesh alternating with bands of musculature leading up to a hand of which nothing was left but the prints and the nails, he looked over and saw anatomy on the wall.  He was in the Anatomy Lab.  No amount of screaming could match his unholy reality.  SR: SSSSS

N       0:24:53.  At this point, we’re brought into the university (Heidelberg’s) exclusive museum-style display of real examples of human anatomy.  To the student, it’s standard fare, not to be sneezed at.  But, for your non-medical citizen, the sights can cause a natural level of discomfort at seeing people done up as they are there.  Though real, the bodies are, effectively, transformed into wax sculptures by a process called plastination where all water is removed from the tissues and a preservative substance is used to replace it.  Now, though of course the examples in the film are props, this technology is real and actual examples exist, most famously in the work of one Honoré Fragonard.  Cf. House on Haunted Hill [R].  If this film gets to you, I very much recommend looking him up.

N       0:24:53.  Here we see a man sliced up like deli meat, the individual cuts encased in thin, tailor-made Plexiglas containers.  They are accurately spaced apart so as to represent the area of the body they were taken from.  We see a layer for each of the feet, several going up the legs, one at the pelvic region, several bigger slices through the chest, a unique slice at the hand showing finger bones, and so on through the head.  I wish to emphasize that though the models used were props, such methods of display do exist and are featured in universities across the world.  SR: SSSSS

N       0:24:56.  A woman is shown, her back opened wide to show some of the musculature surrounding the spine and some connected to the skin.  SR: SSSSS

N       0:25:03.  A standing man, one arm before and behind him, is completely skinned.   A rectangular cavity is cut out of his chest in which one can see placement and orientation of various organs including the heart and much of the surrounding rib cage.  SR: SSSSS

N       0:25:18.  Here, we come upon a model that isn’t easy to describe.  Virtually all of the skin and muscle of the figure is removed, the only bits remaining (that we can see) are inside the head (I’ll get to the skull in a moment) and down the arms.  Many of the organs in the thoracic cavity are present and supported in their correct positions by rather intricate arrays of metal framework.  Now, for the skull.  Cut into four parts, the mandible hangs lower than normal to allow visual access to the tongue (#1.)  The front, through about where the ears were, is cut off from the back (a solid piece, #2) and itself split it half through the nose and maxilla.  Eyes are preserved in place, as is the brain.  SR: SSSSS

N       0:25:50.  The highly unfortunate fellow we saw at 0:06:58 is focused upon, his entire body done like his arm: alternating bands of flesh, muscle and tissue, cut away entirely in places to show the underlying skeletal structure.  SR: SSSSS

N      0:47:25.  After some squirming about, Paula jumps up off of her bed when she feels something wet under her, investigates with her left hand, and discovers it to be blood.  Seeing a spot on the sheet, she yanks it off to reveal a giant stain on the mattress.  Looking beneath the bed, she sees a good-sized puddle where it had seeped through.  SR: SSSSS

N     0:53:33.  After a music-video style make-out session with Gretchen and Phil, we hear the characteristic sound of the tranquilizer-type guns the anesthetists use.  Gretchen, confused when Phil stops running his tongue around her navel, lifts his head up.  Mouth agape, much of his blood spills on her, soaking her underwear a deep red.  SR: SSSSS

YEAR 2003 directed by stefan ruzowitsky

STARRING barnaby metschurat, herbert knaup, franka potente

Qs: 9.  AR: SSSSSSSSSS

N       0:03:00.  Benny removes his jacket and cuts off his shirt with a scalpel he squirreled away in a pocket earlier, showing numerous stitched-up scars on his arms and chest.  Slashing a security guard in the gut, he proceeds to cut through bandages on his left arm, bleeding down himself from it.  He then takes three solid swipes across his own bare chest with the scalpel, opening himself up wide all three times, turning himself into a bloody spectacle of medical experimentation gone nuts.  To cap it, he stabs himself in the heart with the surgical instrument and waits to die.  SR: SSSSS

N       0:37:12.  Doctors attach the CNE to Jo’s spinal cord through a square opening in his back in preparation for a similar venture on one of his calves.  SR: SSSSS

N       1:06:06.  Hagen slices Jo’s thigh open, a wound that bleeds down his leg onto the floor.  SR: SSSSS

N       1:11:29.  A supercharged patient breaks a doctor’s left arm with a strong blow, the clothing around his elbow soaking up red.  SR: SSSSS

N       1:17:45.  Doctors perform an extensive operation on the chest of an unnamed patient.  SR: SSSSS

N       1:19:48.  In a clever evasion maneuver, Jo dresses himself up to look like a patient.  This involves breaking open a blood bag and soaking up some of the fluid into gauze squares and applying them to strategic places on his head and left leg before smearing a handful down the side of his face and playing a severely injured patient when curious doctors arrive.  SR: SSSSS

N       1:22:24.  Jo’s Filipino friends perform an emergency operation to remove the “bad implant” as they call it, cutting into the back of his knee and his heel.  SR: SSSSS

N       1:29:58.  Falling off of a considerably tall building, Gregor lands on the steel pole he intended to use against Jo.  We don’t see a wound, but the water around him starts to turn red.  SR: SSSSS

N       1:31:04.  We don’t see who or exactly what happened to him or her, but a facedown corpse lies at the end of a path of blood at the door of the operating room.  SR: SSSSS