WEREWOLF IN A GIRLS DORMITORY
Alas, the film has an utter dullness that belies any of the appealing luridness that the title suggests. The disappointment sets in the moment that one gets past the title and sits down to actually watch Werewolf in a Girls' Dormitory. Italian director Paolo Heusch (anglicised on the credits as Richard Benson) directs in a talky, dull manner. The makeup on the werewolf is shabby and unconvincing although to be fair, there is one reasonable lap dissolve sequence where we see the werewolf change into a man. Nor is there anything in the film that comes anywhere near creating atmosphere. The performances are dreary and routine, the exception being the lovely and wide-eyed Barbara Lass (who at the time was married to Roman Polanski). The ending at least holds a moderately surprising revelation of the werewolfs identity.
In many ways, Werewolf in a Girls' Dormitory appears to have been fashioned in an attempt to emulate the krimi films that were popular in German-speaking countries during this era, usually adapted from the works of Edgar Wallace starting with The Face of the Frog (1959). In typical krimi fashion, much of Werewolf in a Girls' Dormitory circles around blackmail plots involving love letters and dodgy characters lurking around the school grounds. These are made to appear sinister because of physical deformity, notably the character of the handyman Walter (who looks a dead ringer for Peter Lorre). The film often seems construed more as a murder mystery than it ever does a werewolf film. The plotting however is preposterous. The most absurd scene is where Carl Schell mentions to Curt Lowens and Maureen OConnor his theory of lycanthropus (about werewolf genes) that was ridiculed by his colleagues, where the two of them swallow the theory without any question and then a couple of minutes later wonder if Schell was experimenting on himself and ask him to expose his arm to look for syringe marks.
Full film available online here:-