Perrault's fairytale labels werewolves(symbol in this case for strangers) as being dangerous and foreign. The werewolf in Sam the Sham falls victim to this stereotype. The song is narrated from an omniscient point of view. It explains why the werewolf is attracted to the, “little big girl”, his intentions, and his justifications as to why the girl should fall for him too. He has to pretend to be something that he’s not in order to win the trust of Lil Red Riding Hood. His intentions are caring, genuine, and protective. He is attracted to her full lips and big eyes, and is concerned for her safety. “You’re everything a big bad wolf could want”(2:24-2:29). He does not violate her or trick her like in the original tale. He proceeds to walk with her to her grandmothers so that she isn’t preyed on by other wolves. He pretends to be a sheep, admires her, and attempts to make a connection with her or win her over. This werewolf is in love, to an extent, not maliciously trying to violate and harm the girl.
The concept of werewolves being slaves to strong emotions is further reinforced in the 1957 melodrama/drama I was a Teenage Werewolf. The main character Tony has anger issues. A sadistic scientist manipulates and amplifies his emotions in order to create a monster. His anger consumes him and functions in a similar manner to love in “Lil Red Ridin’ Hood”. This suggests that a monster/werewolf is created from intense uncontrollable emotions rather than bad intentions.
I Was a Teenage Werewolf. Herman Cohen. American International Pictures, 1957. Film
Perrault, Charles. Little Red Riding Hood. University of Pittsburg, n.d. Web. 20 Apr. 2017.