The woman of the hour
This story started way before the introduction. We understand that the detectives of Scotland Yard have been investigating a series of grisly murders. For an hour-long horror film about lycanthropy, She-Wolf of London sure spends a lot of time discussing love, marriage, children and inheritance. Any subplot that can keep us away from that precious werewolf transformation is a valid subplot.
There’s no tension, no build-up and no gravitas. This is a dark drama and not much of a horror film, despite what the title suggests. The movie’s main qualities, typical of the decade, are its architecture and its costumes. The actors aren’t bad, but they’re stiff, and that, too, is typical of the 1940s. The score is appropriate, but it’s too intense considering not much happens.
She-Wolf of London is watched the way books are read. Bad books. There are better werewolf movies out there that live up to their gimmick. This one has a boring procedural, no special effects, and it’s extremely predictable. It’s paint-by-numbers. She-Wolf of London is shy about showing the good stuff. It talks the talk, but it doesn’t walk the walk.