This mostly unrelated sequel to Cat People (1942) has Amy, the young daughter of Oliver and Alice Reed. Amy is a very imaginative child who has trouble differentiating fantasy from reality,... See full summary »
A young Canadian nurse (Betsy) comes to the West Indies to care for Jessica, the wife of a plantation manager (Paul Holland). Jessica seems to be suffering from a kind of mental paralysis ... See full summary »
After the bankruptcy of their father's stonemasonry firm, brothers Nicola and Andrea emigrate to America to restore their fortunes. After many adventures and near-disasters, they end up in ... See full summary »
Joaquim de Almeida,
Colonel Chabert has been severely wounded in the French-Russian Napoleonic war to the point that the medical examiner has signed his death certificate. When he regains his health and memory... See full summary »
After another cardiac arrest, Armand knows he doesn't have long to live. But after more than 70 years in the same house, he doesn't want to die anywhere else. His wife, Rose, has secretly ... See full summary »
Jean Pierre Lefebvre
J. Léo Gagnon,
An ex-convict struggles to survive by brute force alone in a turn-of-the-century slum in Braila. Codine (Alexandre Virgil Platon) is the thug who served 10 years for murdering a friend. He ... See full summary »
Alexandru Virgil Platon,
Catherine, a concert pianist, is surprised one night by the arrival of her best friend from childhood, Marie-Alexandrine (Max), whom she hasn't seen for 25 years. Catherine and Max were ... See full summary »
Serbian national Irena Dubrovna, a fashion sketch artist, has recently arrived in New York for work. The first person who she makes a personal connection with there is marine engineer Oliver Reed. The two fall in love and get married despite Irena's reservations, not about Oliver but about herself. She has always felt different than other people, but has never been sure why. She lives close to the zoo, and unlike many of her neighbors is comforted by the sounds of the big cats emanating from the zoo. And although many see it purely as an old wives' tale, she believes the story from her village of ancient residents being driven into witchcraft and evil doing, those who managed to survive by escaping into the mountains. After seeing her emotional pain, Oliver arranges for her to see a psychiatrist to understand why she believes what she does. In therapy, Dr. Judd, the psychiatrist, learns that she also believes, out of that villagers' tale, that she has descended from this evil - women ... Written by
The horror movie technique of slowly building tension to a jarring shock which turns out to be something completely harmless and benign became known as a "Lewton bus" after a famous scene in this movie created by producer Val Lewton. See more »
The wadded up paper that Irena throws toward the garbage changes shape between when she throws it and when Oliver picks it up and throws it away. See more »
[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 »
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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