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Cat People (1942)

7.5
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Ratings: 7.5/10 from 10,249 users  
Reviews: 127 user | 98 critic

An American man marries a Serbian immigrant who fears that she will turn into the cat person of her homeland's fables if they are intimate together.

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Title: Cat People (1942)

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Cast

Complete credited cast:
...
Kent Smith ...
Tom Conway ...
...
...
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Storyline

Irena Dubrovna, a beautiful and mysterious Serbian-born fashion artist living in New York City, falls in love with and marries average-Joe American Oliver Reed. Their marriage suffers though, as Irena believes that she suffers from an ancient curse- whenever emotionally aroused, she will turn into a panther and kill. Oliver thinks that is absurd and childish, so he sends her to psychiatrist Dr. Judd to cure her. Easier said than done... Written by Ken Yousten <kyousten@bev.net>

Plot Summary | Plot Synopsis

Taglines:

To Kiss Her Meant Death By Her Own Fangs and Claws! See more »


Certificate:

Approved | See all certifications »
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Details

Country:

Language:

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Release Date:

25 December 1942 (USA)  »

Also Known As:

La marca de la pantera  »

Box Office

Budget:

$134,000 (estimated)

Gross:

$4,000,000 (USA)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Several actors in studio records and casting call lists did not appear in the movie. These were (with their character names) George Ford (Whistling cop), Leda Nicova (Patient), and Bud Geary (Mounted policeman). See more »

Goofs

When Irena does not show up at her apartment when Dr. Judd, Oliver, and Alice are waiting for her, they leave. Dr. Judd hides cane in apartment to give him an excuse to borrow Oliver's key and go back in for it, after when he leaves the door unlocked so that he can sneak back in, something hidden from Oliver and Alice. Yet after Oliver and Alice are threatened in the office, they call the apartment to warn Dr. Judd that Irena is definitely dangerous and that he should leave. See more »

Quotes

Irena Dubrovna: What should I tell my husband? Naturally, he's anxious to have some word.
Dr. Louis Judd: What does one tell a husband? One tells him nothing.
See more »

Crazy Credits

[From the opening credits] "Even as fog continues to lie in the valleys, so does ancient sin cling to the low places, the depression in the world consciousness."- "The Anatomy of Atavism"- Dr. Louis Judd See more »

Connections

Followed by The Curse of the Cat People (1944) See more »

Soundtracks

Do, Do, Baby, Do
Traditional French folk lullaby
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

A howl in a concrete jungle
6 October 1999 | by (Glasgow, Scotland) – See all my reviews

One doesn't want for a second to take credit away from screenwriter DeWitt Bodeen, one of the most intelligent scenarists the horror film evr had the benefit of. But it's a matter of record that producer Val Lewton, here as on all his horror pictures, was responsible for the initial premise and the screenplay's final draft. And one wonders how much of Lewton - one of those male writers who tended to form his most empathetic bond with his female characters - there is in Irene: like him an eastern european immigrant (she from Serbia, he from Russia, albeit second generation he grew up in an essentially Russian household) living in the very different world of 40's America, both hyper-sensitive (particularly over morbid fantasies regarding cats) and artists of an essentially solitary and modest nature, but prone to fits of violent temper. Certainly, Irene is one of the most vivid and haunting protagonists any horror film ever had. Some critics may disparage the film as inferior to its follow-up, 'I Walked With a Zombie', but although that's a more completely achieved work, none of its characters captures the imagination as Irene does. One scarcely needs to heap more praise on the most celebrated suspense sequences, but the rest of the movie is more than just a set-up for these. It is, for one thing, oneof the supreme evocations of spiritual loneliness in the cinema. As Irene huddles by the doorknob between her and husband Oliver, while the panther in the nearby zoo calls out through the wintery night, this is an evocation of an isolation more than merely physical and tragically irrevocable. Lewton also had on his side, in this instance, the best of his directors, Jacques Tourneur, a sensualist (which could scarecely be said of his successors, Mark Robson and Robert Wise) who makes of the story a sort of tactile poem in the textures of the black fur of Irene's coat, the silk of her stockings, the flakes of falling snow on Irene and Oliver's wedding night, the wet tarmac across which Jane Randolph has to make her scary walk home, the ebony of an Egyptian cat-statue, the fabric of a couch torn by Irene's fingernails, the white enamel of Irene's bath-tub and the gleaming dusky hunch of her wet shoulders as she sits weeping within. This is a subtle movie, but also an intensely physical one. If there is a weak spot, it lies with the casting of Kent Smith as 'good plain Americano' Oliver Reed. His boy next door charm is hopelessly inadequate to the context of Irene's drama and he increasingly seems doltish and blindly insensitive in the blandness of his responses to her torment. The film might have been greater still if Lewton had cast an edgier, fierier actor, one whose incomprehension of Irene might have betrayed its own violent streak and extended the 'cat people' metaphor beyond Irene herself. Think of someone like John Garfield in the role! But Garfield would have been out of Lewton's budget range and one can scarcely harangue the producer for being too modest, in the production of his first quickie horror, for fully grasping how rich a work of film poetry he and his collaborators were in the process of creating. But poetry it is. The horror genre has never produced as much of that as it ought to have done, so for heaven's sake, make the most of this and the other Lewton productions.


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