Brotherhood of the Wolf (2001)
Director: Christophe Gans
Starring: Samuel Le Bihan, Mark Dacascos, Vincent Cassell, Monica Bellucci
Primary genre: Period
Secondary genre: Action
Third genre: Horror
Director Christophe Gans made the impossible well…possible in “Brotherhood of the Wolf”. A huge international success and now a cult film, it might cause confusion among cinephiles due to is vague posters and promotional material which masquerade the purpose of this unique and eclectic cinematic output from France. While you might think that the movie deals with some aspects of the French revolution or is just a French clone of Burton’s “Sleepy Hollow” (1999), “Brotherhood of the Wolf” is an entirely different beast altogether. Describing it more would only hurt your chances to truly enjoy and appreciate the maestry and craftmanship behind this bizarre but highly effective hybrid of period, action, and horror with a dose of political intrigue and a touch of romance.
Set around the 18th century France, the plot involves two men dispatched by the king to deal with the infamous Beast of Gevaudan, a supposedly wolf like “demon” that has killed 100 people so far. Taking inspiration from a real story (!), Gans’ gonzo film lays out a complex map of plots occupied by several distinct characters across easy to remember locations. Yet despite the initial information overload, which might put some people off, all the above are necessary elements of a gigantic puzzle that slowly gets pieced together culminating at a bonkers finale that ties loose ends with convincing resolution.
It is quite an achievement to jiggle so much material in 150 minutes without being tiresome (or boring) but the expansive budget offers Gans the opportunity to convert his initially straightforward tale to something much more sinister. And this is where the real fun begins. Swinging effortlessly from one genre to another, the script never repeats the same beats providing new sequences that take the story to unexpected places. There is a “Last of the Mohicans” (1992) excuse to exercise some sharp commentary about the conquering of the New World and the fight with the British; creature horror in the likes of “Jaws” (1975) in some of the most depressing forests you will ever see; nifty period drama between the ruling high class who seem to believe they have all the answers but offer no resolution to the killing spree; a Romeo and Juliet type of romance; a hint of black magic; lots of full frontal nudity moments (because we are French that’s why) and scattered throughout the running time are the now infamous and violent martial art skirmishes that should look out of place, but for some inconceivable French reason, they don’t.
It is testament to the director’s remarkable skill to combine these traits together and craft an engaging tale at several fronts but he does not stop there. While others in the same year (or decade) tried to mimic “The Matrix” (1999) in style, Gans is focused in making his creation more immersive by utilizing every single trick in the book with the enthusiasm of a child who found their first toy: zoom ins, freeze frames, match cuts, slow motion, superimposition and more(!) are used as eye candy giving “Brotherhood of the Wolf” a slick aspect which other period films of this stature do not have. Joseph LoDuca’s (e.g., “Evil Dead” (1981)) mesmerizing score also lacks the traditional orchestral approach opting instead to construct a diverse and rich musical landscape under a meticulous and aggressive sound design that puts Hollywood motion pictures to shame.
Assisted by superb production design, Gevaudan looks and feels like a real place and we move along with Fronsac and Mani through a location labyrinth that features churches, brothels, castles, palaces, lairs, caves and even the Versailles. Dominique Borg’s though costumes remain perhaps the highlight of the film; watching actors wearing such exquisite period pieces with a twist (i.e., Bellucci’s and Cassel’s clothes are out of this world) is an astonishing feat deserving every single accolade out there.
And speaking of the cast, they take the bait and play straight too bringing the type of European acting gravitas even on films that wear their genre influences on their sleeve. Le Bihan is a compelling hero and not a typical reflection of shiny justice fitting nicely in a period of social unrest. Vincent Cassel almost steals the show as the one armed (and occasionally bitter) Jean-Francois, Monica Bellucci lives up to the title of the most beautiful woman to ever walk the earth but it is Mark Dacascos as Mani, Fronsac’s Iroquois “brother” who has the best scenes (and fights) in the movie and is explored through clever and minimalistic visual storytelling under a striking visual presence. What could have been another stereotypical portrayal of Native Americans is a meaty and non-humorless role.
Some may accuse “Brotherhood of the Wolf” of trying too hard and being too much without having its own distinct identity and a core substance. Being the only eccentric and successful mix of several genres would warrant though its own individuality the same way Tarantino works. And it is for that reason precisely why this type of chaotic script works and does not leave the film in utter ridicule. After twenty (plus) years, it still feels fresh, a highly entertaining flick splashed with French sensibilities across every shot. It might be excessive but it does not undermine your brain capacity or your expectations.
Spectacular genre period hybrid with a twist
+Expansive production
+Sensational costume design
+Great cast
+Successful mix of various genres
+Dacascos, Cassell, Bellucci steal the show
+Engaging story
+Laustsen’s cinematography
+Modern direction
+Sleepy Hollow atmosphere
-Narratively stretches too thin