My Mom’s a Werewolf (1989)

USA, 90m
35mm film, colour
mono, English

An American comedy horror film directed by Michael Fischa.

Plot Summary

Frustrated housewife Leslie is seduced by a handsome pet shop owner who turns out to be a werewolf. When he bites her she slowly starts turning into a wolf.


Directed by: Michael Fischa
© 1988 Crown International Pictures
Crown International Pictures presents a Hairy production
Executive Producer: Marilyn Jacobs Tenser
Produced by: Steven J. Wolfe
Associate Producer: Brian J. Smith
Written by: Mark Pirro
Director of Photography: Bryan England
Edited by: Claudia Finkle
Music by: Barry Fasman, Dana Walden
Sound Mixer: Sergio Bandera
Costume Designer: Kelly O’Gurian
Make-up Artist: Vicky Toler (The One & Only V)
Special Effects Crew: Larry Maynard, Ed Irastorza
Art Director: Bruce Mink

Susan Blakely (Leslie Shaber)
John Saxon (Harry Thropen)
Katrina Caspary [real name: Tina Caspary] (Jennifer Shaber)
John Schuck (Howard Shaber)
Diana Barrows (Stacey Pubah)
Ruth Buzzi (Madame Gypsy)
Marcia Wallace (Peggy)
Geno Silva (Dr Rod Rodriguez)
Marilyn McCoo (Celia Celica)
Lucy Lee Flippen (Nurse Mammosa)
Lou Cutell (butcher)
Yetta (woman)
Charlie Holliday (Officer Demyer)
Chris Hubbell (Officer Cooper)
Phil Rubenstein (Malcolm Macafee)
Shaun Del Grande (Ralph)
Joe Stark (old man in car)
John Briganti (bratty kid)
Kimmy Robertson (pedestrian)
Mike Ceballos (punk)

Alternative Titles

Äitini on ihmissusi – Finland (video)
Ett odjur till morsa – Sweden
Farkasember a mamám – Hungary
Ma mère est un loup-garou – Canada (French)
Maman est un loup-garou – France (video)
La mamma è un lupo mannaro – Italy
Meine Mutter ist ein Werwolf – West Germany
Mi madre es una mujer lobo – Spain
A Minha Mãe é um Lobisomem – Portugal
Minha Mãe é um Lobisomem – Brazil
Moja mama jest wilkolakiem – Poland
My Mum’s a Werewolf – UK



  • The Films of the Eighties by Robert A. Nowlan and Gwendolyn Wright Nowlan p.382
  • Horror and Science Fiction Films IV by Donald C. Willis p.341
  • The Werewolf Filmography by Bryan Senn p.162-164