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The Seventh Victim (1943)

7.0
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Ratings: 7.0/10 from 3,110 users  
Reviews: 75 user | 45 critic

A woman in search of her missing sister uncovers a Satanic cult in New York's Greenwich Village, and finds that they may have something to do with her sibling's random disappearance.

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Title: The Seventh Victim (1943)

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Cast

Complete credited cast:
Tom Conway ...
Jean Brooks ...
Jacqueline Gibson
...
Frances Fallon
...
Mary Gibson
...
Natalie Cortez
Erford Gage ...
Jason Hoag - Poet
Ben Bard ...
Mr. Brun
...
Gregory Ward
Chef Milani ...
Mr. Jacob Romari
Marguerita Sylva ...
Mrs. Bella Romari
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Storyline

When her older sister Jacqueline disappears, Mary Gibson is forced to leave her private school and decides to travel to New York City to look for her. A bit naive and out of her depth, she is not quite sure how to go about finding her. Eventually she meets Gregory Ward, her sister's husband and a mysterious psychiatrist, Dr. Louis Judd who claims to know of Jacqueline's whereabouts. What she doesn't realize is that her sister became involved with devil worshipers who now want to eliminate her for having revealed their existence. Written by garykmcd

Plot Summary | Plot Synopsis

Taglines:

SLAVE to SATAN! See more »


Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

21 August 1943 (USA)  »

Also Known As:

The 7th Victim  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

The staircase seen at the beginning of the film is the same one used in Orson Welles' The Magnificent Ambersons (1942). See more »

Goofs

When Jaqueline Gibson is running from a man who is following her, she backs against the wall in an alley near the Ivy Lane stage entrance and her nails are painted as she searches the wall beside her. In the next shot, when her hand suddenly finds the man's arm, her fingernails are unpainted. See more »

Quotes

Nancy: Jacqueline, you've spoken so often of ending it all I can't understand why this should be so difficult for you. You have only to drink a little.
Esther Redi, Jacqueline's Partner: Yes, Jacqueline. You were always talking suicide; ending your life when you wanted to.
Jacqueline Gibson: Yes, when *I* wanted to.
See more »

Connections

Referenced in East Side, West Side (1949) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
The Most Terrifying Movie I have ever seen--and the only film I can call a Masterpiece.
20 October 2002 | by (New York City, USA) – See all my reviews

I first saw "The Seventh Victim" on TV when I was a highschool teenager in New Jersey in 1960. I had no film knowledge, no idea of who Val Lewton was. Our local station Channel 9 had the rights to the RKO film library, and simply tossed "The Seventh Victim" into a 90-minute time-slot (a 71 minute movie interrupted every 10 minutes with a blast of commercials). Even so, seeing this movie under the worst possible circumstances, I was nonetheless hypnotized by its eerie, morbid, downright shocking handling of a fairly typical thriller premise: A young girl (the luminous Kim Hunter, in her first film) is informed by the staff of the Catholic girls' school she attends that her sister, who lives in New York City and owns a thriving women's fragrance emporium, has not paid her tuition bills for several months and has apparently vanished. Ms. Hunter goes to Manhattan to find her sister, whom she traces to the West Village, where the rest of the story is set. A trustful, kind-hearted innocent girl suddenly thrust into a series of increasingly frightening situations populated by a huge cast of supporting characters (and nobody is quite what meets the eye), Ms. Hunter and the viewer are sent down a series of dark alleys that eventually culminate in the most terrifying, nerve-needling, shocking ending of any film I have ever seen. "The Seventh Victim" has stayed in my mind (and haunted my dreams) ever since I first saw it. I now live in New York and have scoured the West Village for the locations of the scenes in "The Seventh Victim" (which, of course, was shot on the RKO Greenwich Village backlot--but is a perfect replica of the deceptively beautiful West Village as it appears even today: cobblestoned streets, majestic townhouses converted into brownstone apartments, cozy, family-run Italian restaurants, and the most colorful, fascinating, complex and entrancing people you'll neet anywhere in the entire world. This mis en scene is captured perfectly in "The Seventh Victim," which another reviewer on this website so perfectly described as a series of Edward Hopper paintings brought to sinister,yet alluring, black-and-white life. I won't go into plot details, since they have been well-covered by other IMDB reviewers. Hitchcock obviously saw this film and used its terrifying shower scene for the centerpiece of "Psycho." To this day, this modest, unpretentious, off-beat chiller remains relatively unknown (except for film-buffs), yet when I showed it to my guests at a dinner party a few years ago, they gradually fell under its creepily hypnotic spell, and, towards the end, when Ms. Hunter's sister is stalked by an unknown killer on the darkened Village streets, a quick camera shot of the stalker reaching into his pocket and pulling out a switchblade made three of my guests scream, How "The Seventh Victim" ever got past the censors in 1943 I'll never know I've read that the film had a strong lesbian undertone that drove the members of the Hays Office into cardiac arrest. Whether this is true or not, I have no idea, nor do I care. The artists who made "The Seventh Victim" created a true work of art-a poetic, chilling, ravishing masterpiece--a pretentious word I've never applied to any other movie, but will, without hesitation, apply to the most intelligent, audacious and spellbinding movie I have ever seen.


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