VIDEOS : Some Classic Werewolves That Lead the Pack

Fangs, howls and bad hair days only Lyle Lovett and Phyllis Diller understand. Full moons that won’t go away, schizophrenia big-time and a hunger that even the latest haute cuisine can’t satisfy.

That’s a werewolf for you.

He’s been one of Hollywood’s favorite pets for decades, a monster that keeps turning up, just like his buddy, Dracula. Last year, Francis Ford Coppola yanked the Count out of his coffin one more time for the disastrous “Bram Stoker’s Dracula,” and now Mike Nichols, of all people, lures the wolfman out of the lair for “Wolf.”

But the director responsible for “Carnal Knowledge” has perfect casting going for him. Jack Nicholson, the closest thing the movies have to a full-blooded wolf, plays the guy who can’t say no to a bloody romp under the lunar light. This so-called “thinking man’s” take on the tale may even fire a well-aimed silver bullet at “Speed,” the most recent box office bankroller.

If “Wolf” satisfies, it does so in great part because we’ve lived with the story forever. Movie studios big and small have turned it into modern mythology over the years, providing literally dozens of slants on the curse of lycanthropy. If the itch reaches beyond Nicholson and co-star Michelle Pfeiffer, try scratching it with these videos:

The first werewolf picture came out in 1913 (the silent “The Werewolf,” which isn’t on video), but most of us think of Lon Chaney Jr. and “The Wolf Man” (1941) as the starting point. It’s still considered one of the best horror films ever, standing out during a time when monster movies were often generously budgeted, even prestigious projects that attracted some of the industry’s finest actors.

Chaney may have had limitations--he’s not asked to do much more than look depressed over his condition, then growl ominously after his shag stops growing, which he does very well--but he’s backed by a cast that includes Claude Rains as his unsuspecting father. The flick has zip and great ‘40s special effects. Besides, the ferocious musical score is nearly as terrifying as Chaney.

It led to a sequel, which in some ways is even more fun than the first. “Frankenstein Meets the Wolf Man” (1943) features Chaney again, this time hoping Dr. Frankenstein will cure his ills. The doctor is out golfing, but the monster is in. Needless to say, these two get on each others’ nerves, and setting up house in the castle isn’t easy. Much snarling from both.

Ironically, Bela Lugosi plays the monster, a role he ridiculed after Boris Karloff achieved fame in the original “Frankenstein.” Lugosi’s career had already slid by then, and the character was no longer beneath him. He’s more nimble than Karloff, which is good; Wolfie is a speedy guy.

A second sequel, “House of Frankenstein” (sorry, not on video), came out in 1944, and it led to yet another sequel, “House of Dracula” in 1945. Yep, Chaney shows up for the fourth time, showing that you can make a cottage industry out of some brutes.

Unfortunately, the sequels just kept getting worse. This one, about a scientist (Onslow Stevens) who tries to cure various monsters including the wolfman, is quirky but too slow. Only worthwhile for those who won’t rest until they’ve seen all of Chaney’s flicks.

A more intentionally amusing take is “Abbott and Costello Meet Frankenstein” (1948). Chaney (who else?) appears as a nice werewolf, trying to convince Abbott and Costello that they’re in danger. Dracula (Lugosi) wants to put Costello’s brain in Frankenstein’s body, maybe so he can hit the stand-up circuit. Anyway, there’s a lot of motion and typical pratfalling from A and C.

“I Was a Teen-age Werewolf” (1957) is most noteworthy for introducing Michael Landon to the drive-in crowd. The movie, another of those cultish, camp favorites, tries to meld teen-age Angst with ‘50s sci-fi horror. Mediocre special effects, but a slavering Landon shows just where Little Joe’s hot temper came from.

A more modern (and intriguing) spin on the werewolf legend is “Wolfen” (1981), starring Albert Finney as a New York detective assigned to a series of violent murders. The twist is that a gang of wolf-like things are doing the damage. Michael Wadleigh’s direction is taut, and Finney adds more than a little class to the experience. It’s an eerie, smart thriller.

“An American Werewolf in London” (also 1981, a decent year for lycanthropy) is more sarcastic, combining terror with hip comedy. David Naughton plays the guy who gets bit during his travels, then begins the usual nocturnal metamorphoses. Set against cool London, his prowlings take on a giddy quality. It’s a werewolf-as-tourist kind of thing.

The first “The Howling” also came out in 1981, and it’s easily the best in the series. Strong effects and a new-look werewolf (more rangy, closer to a wild wolf) enhanced this effective thriller. It’s also funny: There’s a cult of beasts living in a woodsy retreat, and they approach lycanthropy as if it’s a New Age religion. You can skip the numerous sequels; they’re werewolf dung.