*. As I point out on my About page, I don’t provide spoiler alerts for these commentaries. My feeling being that anyone reading my notes has already seen the movie being discussed. That said, I’ll issue one here anyway. Just because this is a mystery and I’m a nice guy and really there’s nothing else to talk about but the basic set-up.
*. So, what we have here is a werewolf movie with no werewolf. This shouldn’t surprise us too much. You could have a female vampire (the brides or daughters of Dracula), and even a female Frankenstein’s monster (if you use enough imagination), but the thought of a woman getting all hairy and scary . . . well, in 1946 that was pushing things a bit too far. Even today female lycanthropes are more the exception than the rule. Sybil Danning at least tried to make them sexy in Howling II: Your Sister is a Werewolf, but then that movie was mainly tits ‘n’ giggles. Other than that, who is there? The girls in Ginger Snaps. Serafine in An American Werewolf in Paris. But Serafine appears to be the only girl werewolf in the Paris pack. In Underworld the “lycans” seem predominantly (if not exclusively) male. Sexy vampires, yes. But no sexy werewolves.
*. Anyway, instead of werewolves we have a heroine who is afraid that she may be a werewolf due to an ancient family curse. This, in turn, may spoil her wedding plans. In other words, Cat People with lycanthropes. But it’s actually less interesting than that because there’s no sexual or supernatural angle. Instead it’s just the old story about trying to drive the heiress insane.
*. I wonder where this particular story got started. One term for it, “gaslighting,” comes from a 1938 play (film versions in 1940 and ’44). Whatever its provenance, a lot of mystery-thrillers in the ’50s and ’60s seemed to be doing it. Les Diaboliques is probably the best known. Hammer’s Nightmare is another example.
*. I digress. But I digress only because there isn’t much else to say. I think it will be pretty obvious to everyone in the audience what’s going on as soon as they see “Aunt” Martha (Sara Haden) bringing Phyllis (June Lockhart) a glass of warm milk to soothe her nerves, with Phyllis waking up the next morning covered in mud and blood.
*. It all plays out as quite awkward and artificial. I especially like how the police in the park just sort of stand around when they hear people calling for help, and wait for the mutilated inspector to stagger over to them before expiring right at their feet. Not much of a sense of urgency there, boys.
*. At the end of the day I can’t even call this one an interesting footnote to the werewolf genre. It’s just a dull and obvious little picture without anything particularly memorable about it. The studios churned out a lot of movies like this in the ’40s. Most of them are now lost, and most of those not lost are pretty much forgotten. She-Wolf of London has no greater claim on our attention.