Post by someoldguy on Nov 10, 2019 12:21:50 GMT -5
AKA Daughter of the Werewolf, a more appropriate if less attractive title
'Gypsy' (Romani to be PC) princess who is a werewolf kills to protect sacred secrets. She can also cast spells to influence people. Nina Foch, then a mere 20 years old and destined for a long and distinguished career, is the bright light of the film as the aforesaid werewolf lady, delivering a well-defined and nicely menacing character. Osa Massen, an experienced actress already, is not bad either as the romantic interest who is also of Romani ancestry. The rest of the cast is of the usual second-string variety, competent if stereotypes. Sadly, this is also the case with the leading man Stephen Crane. (Who?)
The plot is not bad if fairly simple and the Romani flavoring adds a nice touch. The makers wisely decided to limit the film to 62 minutes. No backstories or other filler here, everything is relevant to the story and fits together well.
The werewolf lore is unconventional. The condition is hereditary, passed from mother to daughter. Transformation is voluntary and unrelated to the moon. Transition is to a full wolf form, no makeup involved, this being a Columbia cheapie. Transformation is also minimalist, the shadow on the wall of the crouching woman being replaced by the shadow of a wolf. The werewolf is a very wolf-like dog or perhaps a real wolf. (Clothes apparently disappear and reappear by magic with the back and forth changes.) In the only on-screen interaction with people, even though poorly lit it is clear that a German Shepherd has been substituted, this breed being better (safer than wolves) actors. There is no gore of course, this being 1944 (and a cheapie). In fact, one never even gets to see any dead bodies.
A nicely crafted and original (if brief) tale with the two most important characters effectively portrayed. Good fun if one keeps expectations within budget.
'Gypsy' (Romani to be PC) princess who is a werewolf kills to protect sacred secrets. She can also cast spells to influence people. Nina Foch, then a mere 20 years old and destined for a long and distinguished career, is the bright light of the film as the aforesaid werewolf lady, delivering a well-defined and nicely menacing character. Osa Massen, an experienced actress already, is not bad either as the romantic interest who is also of Romani ancestry. The rest of the cast is of the usual second-string variety, competent if stereotypes. Sadly, this is also the case with the leading man Stephen Crane. (Who?)
The plot is not bad if fairly simple and the Romani flavoring adds a nice touch. The makers wisely decided to limit the film to 62 minutes. No backstories or other filler here, everything is relevant to the story and fits together well.
The werewolf lore is unconventional. The condition is hereditary, passed from mother to daughter. Transformation is voluntary and unrelated to the moon. Transition is to a full wolf form, no makeup involved, this being a Columbia cheapie. Transformation is also minimalist, the shadow on the wall of the crouching woman being replaced by the shadow of a wolf. The werewolf is a very wolf-like dog or perhaps a real wolf. (Clothes apparently disappear and reappear by magic with the back and forth changes.) In the only on-screen interaction with people, even though poorly lit it is clear that a German Shepherd has been substituted, this breed being better (safer than wolves) actors. There is no gore of course, this being 1944 (and a cheapie). In fact, one never even gets to see any dead bodies.
A nicely crafted and original (if brief) tale with the two most important characters effectively portrayed. Good fun if one keeps expectations within budget.
Le Loup-Garou Qui Rit
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