Cry of the Werewolf (1944)

Scraping the dregs of the werewolf sub-genre of horror films, Cry of the Werewolf stars Nina Foch as a gypsy who’s secret is that her mother was Marie LaTour, a notorious semi-legendary figure who was rumored, among other things, to be, yes, a werewolf. (Yes, yes, this is some weird cinematic derivation of Marie Laveau.) Most of the movie is set at a museum identified in the first scene by a handy, large, detailed sign as “The LaTour Museum, Restored and Maintained by the Society of Psychic Research, New Orleans”; besides that and some half-baked references about voodoo, there is nothing to suggest that this movie was supposed to be here - the characters don’t even reference New Orleans or anything that would indicate they live anywhere west of Pasadena. (And no second unit establishing shots here of the city here.)
Despite its short length - 65 minutes - and low, low budget (there are exactly two other settings besides the museum, to my recollection), Cry of the Werewolf does a fair job of eeking out a few foreboding and atmospheric sequences. Foch’s transformations into the wolf (no half-wolf, half-human makeup here) was handled via slowly panning to her diminishing shadow that fades to a wolf shape before the next mysterious fatal mauling occurs off-screen accompanied by the appropriate sound effects. Only in the climax do we actually see the hero - the son of the late museum director, played by Stephen Crane - fight off an actual wolf, who must have specified a maximum one day of shooting in his contract. Osa Massen does alright as the love interest who works at the museum and has to fight the gypsy spell that almost leads her to shoot Crane’s character. The idea of a female werewolf who is also a spell-casting gypsy is at least a decent concept, but more could have been done with it.

 ("La Tour Museum", from Cry of the Werewolf.)