That was an excellent one.

Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

In truth, there is barely enough story here to make a film.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

Hi, I'd like to make known I'm not into Werewolf films. However 3 titles of such are a exception. Won't give titles here though in this review. Very recently I viewed Cry of the werewolf (1944). Re plot other users have mentioned.,so I won't go into plot of film. Found film easy to view as it keeps your attention. 5 out of 10 I've given it, that may seem low but 'hey' I'm not knocking it! For me various scenes lighting and shadows etc remind me of The Cat People (1942). Something of Val Lewton effect. Nina Foch I thought played her part effectively. Would like to see Cry of the werewolf on DVD in UK on general release. Like I say not into Werewolf films but make a exception here! By Seance223.

The rather unlikely directoral debut of Henry Levin, 'Cry of the Werewolf' (a title not echoed by anything that actually happens in the film) is a quickie detective/horror hybrid that owes more to Val Lewton's films at RKO than Universal's Wolf Man.Borrowings abound from 'The Cat People', such as the click of high heels pursuing the hero below stairs at the funeral parlour. Lewton, however, would shrewdly have avoided showing us as much as the animal as we see here, which obviously isn't a genuine wolf; and John Abbott's vivid description on the soundtrack of the "master's mangled body, over him stood a terrible animal, with flaming dripping jaws" is completely undercut by the inoffensive-looking doggie woggie we see nonchalantly padding off in the accompanying flashback.The luxurious main set, lit with his usual aplomb by L.W.O'Connell, was probably recycled from an earlier production along with the main theme from Castelnuovo-Tedesco's score for 'The Return of the Vampire'. As a pair of matriarchal lycanthropes, the enjoyably malevolent-looking Blanche Yurka and Nina Foch wouldn't have looked out of place as members of the Palladists in 'The Seventh Victim', while - probably intentionally - far more electricity is generated between the remarkably youthful looking Miss Foch (who gets preposterously little screen time) and Osa Massen than between either of them and the incredibly boring hero Stephen Crane. Barton MacLane as a tough, no-nonsense detective carries himself as if marauding werewolves are all in a day's work for cops on the New Orleans beat.

A gypsy princess (Nina Foch) who can change into a wolf kills to prevent her family's secrets from being exposed. Entertaining B movie that I'm surprised has such a low score and reputation here. It's got some nice atmosphere and a good cast. Stephen Crane is positively goofy but Barton MacLane makes up for it with his enjoyable tough cop routine. Heavily-accented Osa Massen is nice to look at, even if her acting leans to the melodramatic at times. The star of the movie is Nina Foch, Columbia's B movie queen in the mid-40s. She's excellent, as usual.There's essentially two kinds of werewolf movies. The ones where the person transforms into a half-human/half-wolf creature and the ones where the person transforms into an actual wolf. Like most people, I prefer the Wolf Man type of werewolf. This one does the other, simpler version of just having Foch change into a wolf. Just like movies and shows today that deal with werewolves, it all comes down to budget or special effects limitations. Even though I prefer something more like Universal's idea of a werewolf, I don't hate this kind so it doesn't keep me from enjoying the movie.Look, it's barely over an hour so it's not going to kill you to try it out. A lot of the complaints seem to be directed either at the lack of a person in werewolf makeup or at how the movie doesn't adhere to the so-called rules of werewolf movies. The former I've already addressed but to the latter I will just say "Are you serious?" Most of those rules didn't even exist until the 1941 Wolf Man movie made at a different studio so it's not surprising Columbia didn't try to make their movie fit that mold. If anything, they should be commended for trying to do something different instead of just ripping off what Universal did.

CRY OF THE WEREWOLF is on the level of an Ed Wood film, a surprisingly bad little programmer from Columbia with NINA FOCH heading the cast. Her transition from human to werewolf is so poorly staged with shadows that it's laughable.The script is dull, full of exposition for the first half-hour, and populated by some hardly competent actors. Worst of all is STEPHEN CRANE (he was Lana Turner's husband--twice), whose performance has to rank among the worst in recent memory for one who has been watching Halloween films on TCM. OSA MASSEN isn't much better but at least tries to convey her part with more feeling than Crane is able to muster.Nina Foch plays Marie LaTour, a woman in a travelling gypsy wagon who is actually a werewolf, killing to keep her secret from others. Maybe someone like Val Lewton could have pulled this thing together, but Henry Levin's direction is no help at all and the script is a mess.Summing up: A trite tale, poorly written and acted, not worth your time and a vehicle certainly unworthy of Miss Foch's talent. Trivia: Inexplicably, the two best performances in the film are uncredited--JOHN ABBOTT as Peter and FRITZ LEIBER as Dr. Morris.