Cry of the Werewolf

** ½

Nina Foch went on record to say she didn't feel too fondly towards the Universal monster movies, speaking highly critical of their value, considering them of low quality. I admit that her harsh words bothered me a little bit, but it isn't like she was the only one that felt that way. I recall reading about how Bogart felt regarding "movies that Karloff should be in" when *trapped* in the film "The Return of Dr. X". Holden, star of Dracula's Daughter, wasn't keen on being in the film herself, of the opinion held that they pollute the potential of those who star in the Universal monster movies. Of course, movies that perhaps were looked at more prominently at that time are forgotten while the Universal films, on the other hand, continue to remain on the mind today.

When Foch was young, she starred in films like the Lugosi "return to Dracula" vehicle Return of the Vampire, and this, Cry of the Werewolf (1944). In this film, she is a princess of a dangerous tribe supposedly "Devil Worshippers". The curator of a museum for the mother of Foch's tribe is killed by her in the form of a wolf...basically a dog. The old man's son (Stephen Crane), a chemist from Washington, investigates, soon encountering Foch who bewitches him temporarily. Crane falls in love with his father's secretary, from Transylvania, Ossa Massen. Barton Maclane was around a lot back here playing cops in all types of genres from horror to detective movies. He was a journeyman actor. Here is the detective trying to find Crane's father's murderer, soon tying the homicide to Foch.

Foch decides to dedicate her time at the end of the film towards destroying Crane, jealous and envious towards Massen's ability to possibly have his love when she wants it but can't due to her passed-down-from-generation-to-generation werewolf curse. With Maclane's cops on guard, and Massen under the hypnotic control of Foch, it will be a battle of wills.

Columbia gives this film more of a noirish look and is more Val Lewton in its approach than Universal. I think of this in the same frame of mind as Cat People or Cult of the Cobra. It is nice to look at but there just isn't a story much here to speak of. It is straight forward, not complex, and builds predictably to its climax where Foch is a  wolf wanting Crane dead. Full of spite, she tries to will Massen to kill Crane, but there can be none of that. The love between them is stronger than the anger that consumes Foch.

There is a secret chamber in the museum where Foch's ancestor is spoken of every night by a tour guide of the occult, an opening near a fireplace in the building. It has a room where a statue dedicated to her feline line. Foch is lovely, quite stunning, and a minor love triangle develops. This is sadly, though, much ado about nothing.