By the mid-1940s, Universal’s horror films were going down a steep decline in terms of quality. Though there were some highlights including The Wolf-Man and Phantom of the Opera, most were quickly made and cheap. While previous films reused sets and actors, many of the later films went so far as to reuse footage shamelessly. Following the release of House of Dracula, many of Universal’s stock players were let go for various reasons. However, they still wanted to get one more movie out, though for much less money than any film before. Directing duties were given to Jean Yarbrough, whose greatest success was made working with Abbott and Costello. Writers George Bricker and Dwight V. Babcock worked together on what became a rather unusual entry in Universal’s horror series. Finally, in May of 1946, She-Wolf of London was released on a double bill with The Cat Creeps.
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Synopsis
Young Phyllis Allenby (June Lockhart) is engaged to be married to her lawyer boyfriend Barry Lanfield (Don Porter). She lives at home with her Aunt Martha (Sara Haden), cousin Carol (Jan Wiley), and housekeeper Hannah (Eily Malyon). Meanwhile, a series of bizarre murders have the citizens of London in a panic, Scotland Yard suspecting werewolves at play. However, Inspector Pierce (Dennis Hoey) doesn’t believe in werewolves, so he assembles a team to investigate the nearby park. One morning, Phyllis wakes up to find blood on her hands and dress, as well as mud on her shoes. Believing she might be this “Wolf-Woman”, she starts denying Barry as she’s fearful of what might happen to him. Soon, a local detective is murdered after visiting the family mansion, so Barry decides to investigate. Has Phyllis become a psychotic murderer, or is the She-Wolf of London someone else?
Review
Without giving away too many spoilers, She-Wolf of London is somewhat of an oddity in the Universal Classic Monsters series. The film plays more like a mystery thriller than necessarily a monster movie, which is a refreshing change of pace. Granted, at only an hour-long, the film doesn’t take enough time to fully develop its mystery and characters. Thankfully, the acting and moody atmosphere help to elevate the material and make this more of an underrated gem. June Lockhart, who later went on to appear in 1986’s Troll, gives a solid performance as the conflicted Phyllis Allenby. She comes off conflicted as she questions her own sanity and is scared that she might’ve committed murder. Admittedly, Don Porter comes off somewhat bland as her lover Barry Lanfield, but Lockhart’s performance makes up for that. The rest of the cast, while not bad, aren’t particularly memorable save for Sara Haden.
To try and avoid spoiling things, just know that if you’re expecting something like The Wolf Man, you’ll be disappointed. During the nighttime scenes, you never see the supposed “Wolf-Woman”, and there’s a valid reason for it. Much like the characters, you’re never sure if Phyllis actually is a werewolf or if it’s in her head. Everything is left intentionally ambiguous, and you are never shown the murders happening, instead only seeing the aftermath. When the twist happens, the film goes out of its way to explain everything in detail, diluting the impact. Though everything is wrapped up in the end, it feels abrupt and sudden, mostly due to the film’s short runtime. Depending on your expectations, you’ll either enjoy or hate this film, but it’s still worth at least watching once. Overall, She-Wolf of London may not be what you want, but you might be surprised.
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