The Werwulf Discourse is Bad. Let's Talk About It.

[00:00:00]It kind of seems like everyone has a super strong opinion on Robert Edgar's Werewolf, [music] and the goddamn movie isn't even out yet. Are you surprised?

[00:00:08]Cuz I'm not. People on the internet love to give their opinion on just about anything. And movies are often a keystone of cultural discourse on what they're trying to say, what they say about the director, what they say about us, and what they say about the past.

[00:00:23]And oftentimes, cinema is one of the major ways the average person learns about concepts that are unfamiliar to them. Other cultures, other experiences, real life historical figures, and time periods. As you can imagine, this makes historians maybe a little defensive, leading to takes such as these ones on Twitter and Instagram. The thing is, you guys know that I'm always talking about misconceptions about the Middle Ages and how exhausting they are. The trailer features a good amount of grime, darkness, dirtiness, and overwhelming grim look that we're used to seeing in medieval films. When a lot of people imagine the Middle Ages, this is what comes to mind. [music] Montipython type caricatures of a gory, violent, sexual, stinky, dirty, unhygienic [music] millennium. And the truth is, the Middle Ages weren't really all like that at all. But there's nuance here. Lots of [music] it. And some of you might not want to hear this, but I'm on Robert Edgar's side. Please let me explain why.

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[00:04:17]Likewise, portraying history accurately in period [music] films, I think, is kind of a moot point depending on the situation. When a film like The Green Knight or Excalibur or Pride and Prejudice includes historical anacronisms, it serves the artistic [music] purpose. But artistic intent or the value of art itself can't excuse films from their responsibility to history and what messages they might be communicating to an audience. [music] Other films use ahistorical depictions to push, for instance, white supremacist reimaginings of history. And that's a different but connected branch of [music] discourse. Matthew, Gabrielle, and David Perry write in the Bright Ages. In [music] part, this interest in the Middle Ages is spurred by the explosion of medieval fantasies such [music] as Game of Thrones, the History Channels: The Vikings, or video games like the Crusader Kings [music] or Assassin's Creed series. Sometimes though, this interest is sparked by contemporary events or comments from those in power, such as when politicians [music] use medieval to describe a wall or Western civilization as code for white nationalism. [music] In these cases, the adjective is used as an epithet, a term to signify backwardness. In medieval history classes, [music] students arrive looking for darkness and grit, in part because TV shows and movies claim authenticity to the medieval as a defense for their depictions of sexism, rape, [music] and torture. I know we just on this channel about the Victorians ruining everything.

[00:05:44]And honestly, [music] we can't lay all of the blame on them.

[00:05:48]Although they were some of the first medievalists to cause major issues in the historical cannon. A lot of Victorian authors did romanticize the Middle Ages [music] from the perspective of romantic chivalry and a simpler life compared to the one under the looming dawn of industrialization and the anxiety that that caused. But many Victorian historians also perpetuated the already established enlightenment era ideas of the Middle Ages as gross, unhygienic, and [music] backwards because those beliefs made the then current age look a lot more well [music] enlightened. Norman Caner writes in Inventing the Middle Ages, "The problem with the Victorian perception of the Middle Ages was not only that it involved the imposition of 19th century concepts that no longer convince us, but that the Victorians [music] simply didn't know much about the Middle Ages.

[00:06:40]The research work had not yet been done.

[00:06:43]So, yeah, it's not entirely [music] fair to fully demonize those historians. They were working with what they had. And today we have the privilege of much more advanced research and over a century's worth more work in the archives and discoveries. We know now that medieval Europe was a lot more hygienic than formerly believed. Homes had preodern sewer systems to draw waste away from living areas. [music] People bathed and yes used soap and laundered their clothes. Bathous abounded in cities. And there was a fairly good understanding of how health worked. Numerous medieval treatises almost obsessively instructed readers that they must always wash their hands both before and after eating. It was also not uncommon for higher class individuals in particular to be absolutely lambasted publicly for bad hygiene. [music] In the Dameron, it's a common theme that characters are deeply anxious about having bad breath or BO.

[00:07:41]One of the medieval sources we can refer to is the 13th century old French poem the romance of the roses which is a sort of allegorical rendition of the chivalick code and also a chronicle of folk wisdom. The poem goes over common hygiene knowledge instructing young men to quote wash your hands often take [music] care of your teeth. Make sure there's never any black dirt under your nails. Sew up your sleeves. Comb your hair but don't reach for the dye because only ladies should [music] do that.

[00:08:10]Women were given similar advice. The poem gives us a remarkably bright and beautiful image of medieval light. Kempt men and women dancing to music, playing games, eating fruits, flirting under the cover of night. That said, the Middle Ages spanned a millennium. It's obvious that like any time period, including now, times of peace [music] allowed for more trade, more infrastructure, easier domestic life, and therefore better hygiene. and times of war and despair led people to focus more on survival in abject situations. But whether in times of peace or war, one of the most popular medieval manifestos was the phrase dirt has never been dear to God. Janakman's writes in the king of dirt public health in late medieval gent studies on medieval public health demonstrate that the numerous bylaws were no hollow threats or hopeless ambitions. [music] Records from document in 1280 for instance that a fine for the disposal of filth could be collected by the mud officials each in his station. This short reference suggests three things which are typical for governmental sanitary efforts. First, there were several of these mud officials. Second, they were regularly stationed in various parts of town. And third, they generated income by prosecuting environmental offenses. [music] Moreover, as in Gent, such a presence of sanitary officials and indeed of enforcement of health rules corresponds with payments noted in local accounts tolls such as to the overseers of freshwater supply and to cleaners around the town hall and of the central markets. Other major medieval cities had similar sanitization [music] officials like freshwater scavengers in Brussels, Ibra and Dam, dung carriers in Antver, the waste collectors of Bruge, Davanter and Denbos and Utre, the market supervisors of Grooningan, and the various similar municipal sanitary workers of Luvan and Harlem. These [music] city-appointed workers often also were tasked with overseeing some nearby villages as well as provinces were well aware of the value of sanitization and in order to [music] combat the spread of disease by way of trade and farming. Cities and towns [music] hired street pavers to further assist the waste workers as they knew that paved streets were better at preventing the development of trenches, [music] still water and cesspools. It was not unusual for markets and businesses [music] to be prowled by various inspectors, sometimes municipal workers and sometimes soldiers who would issue some pretty hefty [music] fines for improper disposal of waste. After all, the proper collection of waste and dung from livestock or horses was beneficial in that it could be then taken out to the surrounding [music] farms and be used as fertilizer and compost. And after all, people are people and they don't want to be uncomfortable. People don't usually like to open their front door and see piles of dung all over the street. That said, the dung thing also has nuance. The fact is, although these things were regulated in daily life in more populated areas and even rural ones, people up until very recently simply did live lives much more intertwined with nature. Dirt, dust, mud, and yes, dung were all facts of life that were not at all unusual to be dealing with. [music] It's obvious that sometimes these things got on you.

[00:11:36]That's why clothes are such an important part of this discussion. [music] Unlike today, people always wore a protective linen layer against their skin. A koi and/or veil covered the hair and helped with oils and sweat. [music] A linen shift and underpants, such as men's brides, kept your skin clean and were easy to thoroughly wash. Sewn stockings were worn against the legs, and shoes were typically leather and fairly easy to clean. And you had wooden over shoes called patents, [music] like these ones, to protect you from deep mud. Worn over all of these were layers of more linen or wool. And it's all very practical. And [music] yeah, medieval people had loads of vibrant natural dyes to work with to produce vividly colored clothing. Looking back at some original actual medieval illustrations from the time period, um, in my opinion, one of the best ones we have for an example of what the surfs or peasant class were wearing is the book of ours for the Duke de illustrated by the Limborg brothers.

[00:12:38]This is an absolutely beautiful representation of working-class people and surfs in their working environment wearing the common clothes that they normally would have worn. I know this illuminated manuscript is from the 1400s and not the 1300s, which is when werewolf takes place, [music] but it's still like a pretty common indicator of what people still would have been wearing back in the 1300s. We do have medieval manuscripts from the 1300s where we could also see that, and I've shown a few of those. But you can see that a lot of the people working in the fields here are wearing fairly muted colors. Lots of grays, browns. Um the most common actual vibrant colors you can see are overall blue and red or like kind of maroon tones. You can see a little bit in the trailer that Lily Rose Depp's character is wearing some [music] blue. It's just been kind of dampened by the orthochromatic filtering [music] process that the filmmakers have chosen artistically. It's not actually historically inaccurate for these characters as farmers to have been wearing really kind of undyed or mildly dyed clothing. They still would have had access to those things. All this to say, saying Robert Edgars is being historically inaccurate by depicting peasants wearing neutrally dyed or undyed clothing is being disingenuous and just not correct. All that said, it's not entirely fair to impose modern standards of hygiene and cleanliness on a people, particularly the peasant [music] class, that lived far less comfortable and harsh lives than we do.

[00:14:17][music] But it's also not authentic to believe that everyone, including peasants, [music] were just always rolling around in filth. And whether the Middle Ages gets portrayed one way or [music] the other, always depends on who's talking and what goal they have.

[00:14:31]Gabrielle and Perry continue, "The particular darkness of the dark ages suggests emptiness, a blank, almost limitless space [music] into which we can place our modern preocc our modern preoccupations, whether positive or negative. The [music] dark ages are, depending on the audience, both backwards and progressive, both a period to abhore and one to emulate. The problem at hand with Robert Edgars, though, is the fact that he's sort of a secret third thing, and I think people just don't really know what to [music] do with that. I've said a lot on the nuanced realities of the Middle Ages and dirtiness and darkness, but we need to get back to the fundamentals of the problem at hand. [music] From what we can see, the characters in Werewolf are as peasanty as the peasants can get.

[00:15:16]They live a very [music] hard, rural life in the 1300s. Just inherently, they're going to be much closer to the earth than the average medieval person.

[00:15:24][music] I'm not at all surprised that Edgars wanted things looking kind of dirty. The truth is that things weren't as dirty as we [music] think, but dirtiness in a rural setting was still very present. We need to be careful about overcorrecting in order to combat [music] bad medievalism and skewing into portraying the Middle Ages as a modern ideal. [music] Our ideals of cleanliness do not live up to the lived realities of peasants with few resources. Edgars has spoken time and time again about how his love of historical authenticity often leads him to [music] things that make us uncomfortable. He said in an interview with Empire, "Yeah, this is a slowburn horror, that's about the tension and the anticipation and the mystery and the darkness, and we don't want to give it away, but this film is immersive and needs to be experienced full immersion on the big screen. If you're not smelling all the and mud in the street, then you're not experiencing this movie [music] properly." He's been talking about wanting people to quote smell the mud and the ever since his debut film, The Witch, which is hilariously what a lot of complainers this time around consider to be his best film. In an interview with Format, he explained why his dedication to authenticity, or as close as you can possibly get to it, is his goal in the tangible and sensual [music] way. The plan was to make a world that's utterly believable. So, you can invest in the world and invest in the characters. You can be transported [music] into their worldview as well. That's what helps you believe in witches the way that these people would have. You can believe in supernatural stuff. Even the supernatural is articulated in a way that could, aside from a few shots, be explained [music] scientifically.

[00:17:04]Furthermore, for film making to really be immersive and transportive, [music] it has to be so personal. In every frame, it had to be like I'm articulating my own personal memory of childhood as if I was a Puritan [music] remembering the way my dad smelled in the cornfield that morning and the way the mist was hanging in the air. And then of course, Dung comes back into the discussion. I write a lot of smells in [music] my screenplays. In my dreams, the smells are always so important. The witch has a smell from the constant burning hearth and dung. Those are the main smells. The familiarity that people had with dung was huge. Dung, just someone in his agricultural world, could be a very sweet, pleasant smell because think about what the dung is doing for your crop. People were saving their urine to ferment into ammonia and cleaning their clothes with it. You could even save human feces because if you kept it for a year, you can grow root vegetables in it. So, [music] you know, was all over the place. This is something that I love about Edgar's work. There's no fear of confronting something the modern viewer may see as grotesque that may have been a way of life to these characters. [music] He's trying to poke a hole in your membrane that might be shielding you from fully engaging with the world he wants to show you. And he knows he has to work a lot harder for that in film. After all, he had his start as a set designer for theater. You have the benefit in theater of a much higher suspension [music] of disbelief. In film, that threshold is a lot harder to get people to cross.

[00:18:36][music] Rural peasants had much less access to finer materials for clothing, not to mention medical care. [music] I'm actually delighted to see a lot of people in this trailer, including Lily Rose Depp's main character, who have facial differences. We don't yet know exactly who these characters are, but it would not have been unheard of for people with varying types of disabilities and birth conditions and unusual injuries to be seen. I mean, I'm literally always talking about how way more period media needs [music] more amputees. I saw a lot of people making posts saying that Edgars is portraying disabled people as monstrous. And frankly, I think it's way too soon to be condemning him on that front.

[00:19:17]Personally, like just the pure existence of people with disabilities or facial differences is implicating that in your mind. I don't think that's fair. The movie isn't even out yet. Not to mention Lily's character is described as the heart of the film. And Edgar said in an interview with IGN, "It's a story about a man who is cursed and is trying to find salvation through love. Lily's character, who is the wife of Aaron Taylor Johnson's werewolf farmer, is clearly [music] a sympathetic character.

[00:19:45]And I think that showing a character with facial difference that way is actually a really great move for a horror film, which often relies heavily on showing people with disabilities or facial differences as the monsters. So flinging an accusation of [music] abbleism at Edgars already is, I think, not in good faith, even if it's coming from a place of understandable anxiety.

[00:20:09]As a matter of fact, I saw a lot of people online coming at this movie with what seems to be just an inherent distrust of Robert Edgars altogether. I saw someone call him right-wing and other people accuse him of making white supremacist films that glorify European stories, presumably because of the Northmen or maybe just his films in general, which I find odd because first of all, Edgars himself avoided making a Viking film for a long time because it was frequently associated with some nasty He said in an interview with Playlist, "The two main reasons why I was never interested in Vikings myself until recently were that the macho stereotype was not appealing to me personally, but obviously that's not a reason why they weren't getting made."

[00:20:52]Then the other reason for me was the right-wing misappropriation of Viking culture. Maybe that has something to do with it. I don't know. Because actually, there are a couple of Soviet Viking movies from the 70s that aren't bad. So, I'm in this really lucky position where there's a hunger for Viking culture, but nobody's made a historically accurate Viking movie before. So, I can do something that people haven't seen, even though there's a lot of Viking content right now. Although his films are indeed very white, I would argue that they're not actually glorifying anything, they're highlighting fears, and in fact highlighting some very European fears, as all horror does. The Witch is a grim descent through settler Puritanism. The Lighthouse is two dudes going mad in a lighthouse in isolation. The Northman is pulled from the same mythos that Hamlet is based on. And this pursuit of an authentic portrayal of Vikings puts on display some really uncomfortable and disgusting realities from that era and culture and in the end results in a critique of masculine violence and revenge. I could go on and on about that. And the Northman isn't even one of my favorite Edgars films. No Ferraratu has all of the same chops as Dracula because it's Dracula with an added layer of exploration through the Victorian perception of the monstrous feminine of shame and desire. And with that track record in mind, I personally have faith that Werewolf is probably going to be in a similar vein. These are at the end of the day horror movies. Okay? Horror movies are always about our fears and social conditions. Things are going to be a little or a lot grim dark. That's how style shorthand works. It's artistic choices, not Edgar's literally trying to say that everything in the Middle Ages was actually gray. Not anymore than he was trying to say that the 19th century was in black and white or that werewolves actually exist. Okay, I'm going to scroll through the Robert Edgars page on shot deck and tell me just how much bright color you see other than blue and orange. All right. Or gray. It's pretty much those three colors. He's got a look he likes. And each one of them is almost exactly corresponding to a certain movie. Like lots of blue with the Northmen and Noseratu. Orange with Noseratu and the Northmen. Gray with the lighthouse and the witch. like he's got a look per movie and there's a really particular look that he's going for with Werewolf and it's not any different. Thank you to my brother for letting me use his shot deck account by the way. But as for the dreary color palette, I think we really need to get that out of the way right off the bat because I think it's the stupidest argument because the anger here is simply misinformed. The film has that grayish [music] tone because it's supposed to be referencing the vision of a dog or a wolf. People on the production, including Edgars, literally said this. This is both in reference to the werewolf aspect and also the obvious omnipresence of hunting dogs, but also as a symbolic [music] reflection of the spirit of the story's world. Edgars says, "The protagonist inhibits a really brutal, unforgiving, merciless, grotesque world. More than ever, it's mud and blood and dung and rain and pain and suffering." To capture that look, Edgars and his longtime cinematographer Jiren Blashkkey [music] used an orthochromatic treatment on the 35mm film in post, making the actors look sick [music] and gaunt and adding black and white film grain onto the color film, further adding to the rough, [music] gritty, creepy vibe. It's meant to transport you into this sickly world that the werewolf is inhabiting. The werewolf being a personification of something deeper about society itself as [music] they always are. Artists and filmmakers which Edgars first and foremost is are in the difficult position of being overall beholdened to being a communicator to the masses. He has to think about not only how his portrayal of history will serve the art he wants to make, [music] which I argue is the most important thing, and how he is effectively communicating that history to his [music] viewers. As David Loenthal writes, "In the past is a foreign country revisited, history seen rather than read does not have to be translated [music] into the mind's eye or thought about in the context of previous learning. It is immediately accessible to anyone, however unschooled." Edgars, more than most filmmakers, understands that this puts him in a unique position to transport people into history, [music] or more importantly, the mindset of historical people by being as visually authentic as possible, so it's more believable.

[00:25:33]Werewolf being grim, dark, and dirty may not be an accurate representation of the 1300s, but it is an artistically [music] intelligent framing of the world from the perspective of these characters. It could not be any other way. and still be this story. I don't think it's a good faith argument as history lovers to come to an arrestingly artistic horror [music] film expecting it to be a onetoone educational depiction of what historians know about medieval life.

[00:26:01]Edgars is particularly interested in folklore and fear and the grotesque and the sublime witches, mermaids, vampires, valkyries, and now werewolves. We understand his work as subconscious and ethereal, not rooted in reality, but an exploration of how human [music] hatred, terror, and anxiety can manifest in mythical and supernatural ways [music] that were felt as deeply real to people of the past. And yet, there is a strange and somewhat twisted sense of [music] comfort in these films, too. The characters experience euphoria. Oftent times, they find [music] twisted salvation in darkness. This paired with Edgar's neurotic attention to historical detail leads to a phenomenon that Siru Seagan calls unhomes. A yearning for a mythically haunted home. The home is very real. What happens within it is something else entirely, but possibly still real. By employing both representations of historical fact and folklore, he creates alternative enchanted worlds that not only represent the empirical and the speculative [music] in coexistence, but imply that both are deserving of utilization in the strive for a metamodernist meaning [music] making. Through his cinema, Edgar suggests a significance to be found in the synthesis of disenchantment from mythologization and a re-enchantment through informed naivee that chooses to believe in the mysteries of life. I think we can find a middle ground between a lot of films portray history poorly and [music] I just want to have fun watching movies and I don't care if they're accurate. It's frustratingly true that film can perpetuate bad myths about history that are really hard to unteach in a population that increasingly doesn't read, doesn't care about education, and learns [music] their history from AI generated YouTube shorts and Tik Toks. That's a very real frustration and anxiety. And people are really sick of seeing the Middle Ages portrayed [music] as dirty and grim dark on screen because it's so pervasive and we hardly ever get good representations.

[00:28:07][music] But on the other hand, this might not be the film to take that battleground. At [music] some point, we do need to take a step back and remember that Robert Edgars is a horror director, and horror films look dark, aside from a select few in which it serves their artistic intent. Werewolf [music] is not the right movie to be arguing about this. Frankly, the it's literally dog vision factor should [music] have shut this down already. I get it. People get really really defensive of the Middle Ages [music] because I think more than almost any other time period it becomes the reflection pool and petri [music] dish of what makes us anxious about our present. Peter Allenale writes in his 1977 book [music] the Victorian critic and the idea of history. One wonders about such cases as the cause of [music] history, its pattern and the end to which it's moving, about one's inevitable involvement in [music] the web of the past, and the nature of historical knowledge, and above all about the cultural relativity, about the possibility that all values and beliefs are relative [music] to the age in which they occur. But in my personal opinion, if that is worth anything, if I'm going to trust any filmmaker to handle history with care, it's the guy who gets fixated on period accurate wooden nails, saw marks, buttons, and lanterns.

[00:29:22]>> No one in Canada knew how to make those correctly. So, we had to find a guy in Massachusetts who knows how to hand drive oak collaborates, and we had to have them shipped up. you know, the the more the physical world and the mindset of the period is is articulated, you know, specifically with quote unquote accuracy, which is impossible, but you know, my best interpretation of that, uh, the more you can buy into the metaphysical things like a vampire existing, I think I didn't obsess over Puritan buttons just because I like buttons. I didn't obsess over like the saw marks and the floorboards because I like saw marks. Like I mean I do like buttons and saw marks. I do. It's sad.

[00:30:05]But uh it's it's it really finally is.

[00:30:08]It's in the purpose of telling the story. It's about like immersing you in the world. If you can't, you know, be actually transported to the 17th century, then you can't actually be transported into the mindset of these English uh Puritan Calvinist settlers.

[00:30:22]And if you can't do that, then you can't believe in the witch and the whole movie just doesn't work. So that's why this is important. No one's going to stand up and and say like those clabards aren't the right clabards. Those are cedar.

[00:30:32]They should have been oak. Fail fail.

[00:30:34]Fail. No one's going to do that. But the more you let things slide like that, the more that the whole thing like uh doesn't work.

[00:30:41]>> Robert Edgars as a child went to school in costume until he was bullied out of it. Like guys, he's one of us, okay?

[00:30:49]He's also an artist. And look how accurate and beautiful the costumes in this film are. color aside. Okay. The little details, the hand stitching, [music] the parts of medieval costume that don't often appear in film. It's so exciting to see things like this portrayed on screen. Creative reinterpretations [music] of history are just as valuable as an educational docuer is, and they say just as much about the time period [music] they emulate as they do about us. We'll see when werewolf comes out this winter if Edgars will stick the landing again.

[00:31:22]Thank you for discoursing with me about werewolf and the nasty gross middle ages. I'm sure many of you might disagree with me and that's perfectly fine, [music] but you know, I've said my piece until the actual film comes out and I'm not even going to bother to address the middle English language thing until the movie's out because personally, [music] I think we need to hear more of it and get more actual quotes from Edgars and the other people in the film. The statements and reports we have right now aren't really clear enough for my liking. [music] So anyways, don't forget to grab a copy of my graphic novel, Liberated: The Radical Art and Life of Claude Gahan. And until next time, wash thy hands, wear thy mask, and don't forget to stop and smell the dung.

[00:32:25]Heat. Heat.