How a vampire-werewolf prequel turned a dark fantasy into a Shakespearean monster rally
In short: Underworld: Rise of the Lycans shifted the franchise perspective to the Lycans, exploring the origins of a centuries-old war. While critics were divided on the film's necessity, the production relied on the gravitas of its British leads to ground a story of forbidden love, slavery, and brutal revolution.
Released in 2009, the third installment of the Underworld series serves as a prequel to the 2003 original. Directed by Patrick Tatopoulos, the film moves away from the modern-day setting of its predecessors to explore the Dark Ages, focusing on the birth of Lucian, the first werewolf capable of assuming human form. Raised by the vampire elder Viktor, Lucian is intended to serve as a slave, but a forbidden romance with Viktor’s daughter, Sonja, ignites a violent uprising that sets the stage for the long-standing war between the two species.
The film’s production was part of a broader strategy by creator Len Wiseman, who had mapped out a massive collection of stories for the franchise. Despite a production budget of $35 million, the film faced mixed critical reception. Reviewers often highlighted the performances of Michael Sheen and Bill Nighy as the primary assets, with some critics comparing the cast's commitment to a drunken Royal Shakespeare Company production of Dracula Meets the Wolfman. Others, however, dismissed the plot as an indistinguishable and unnecessary addition to the series.
Commercially, the film debuted at number one in the United States, grossing over $91 million worldwide by April 2009. Beyond the cinema, the story expanded into other media, including a two-issue mini-series from IDW Publishing. The home release was equally significant for Sony Pictures, with DVD sales reaching nearly 2.2 million copies by November 2009, generating over $43 million in revenue. Ultimately, the film remains a unique entry in the franchise, prioritizing the Lycan point of view and providing the backstory for the conflict that defines the series.
The narrative structure of the film is deeply tied to the original Underworld, with the final scenes bridging the gap to the first movie. It reveals that Viktor’s decision to spare the character Selene was rooted in her resemblance to his executed daughter, Sonja. This revelation, though dismissed as lies by Selene in the original film, provides the thematic weight that connects the prequel to the established lore of the series.
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- Summary by Intellect · source: Underworld: Rise of the Lycans
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