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 »
Clay Spencer is a hard-working man who loves his wife and large family. He is respected by his neighbors and always ready to give them a helping hand. Although not a churchgoer, he even ... See full summary »
It's New Year's Eve. Three drunkards evoke a legend. The legend tells that the last person to die in a year, if he is a great sinner, will have to drive during the whole year the Phantom ... See full summary »
At midnight on Walpurgis Night, an English clerk, Renfield, arrives at Count Dracula's castle in the Carpathian Mountains. After signing papers to take over a ruined abbey near London, ... See full summary »
Enrique Tovar Ávalos
Maria and Karl Lang are the singing duo of Vienna. Maria is very flirtatious and Karl very jealous. Karl decides to masquerade as a Russian guardsman and attempts to make Maria flirt with ... See full summary »
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, and has no friends her own age as a result. She makes an imaginary friend though, her father's dead first wife Irena. At about the same time, she befriends Julia Farren, an aging reclusive actress who is alienated from her own daughter Barbara. Written by
Ken Yousten <firstname.lastname@example.org>
Irena is Serbian in origin (as shown on the precursor 'Cat People') yet sings a traditional French Christmas carol 'Il Est Ne, Le Divin Enfant' to Amy. See more »
The photograph Amy finds in the drawer is seen in close-up to be a portrait of Irena. In long shots, however, it looks more like a wedding picture with one person in white and another in black standing side-by-side. See more »
This film is one of my all time favorites; and I have to admit that I really question the smarts of anyone who can't see the very strong ties this film has to its predecessor.
In fact, the whole film centers around curses of various kinds; however, we're not talking about curses in the gypsy-mumbo-jumbo sense but in the sense of seeming to live under the kind of weight brought on by loneliness, anger, frustration, and, perhaps to a certain point, obsession.
There is so much loveliness in this film that to quibble over semantics really does it a disservice. Open your mind when you watch this one, and let its enchantment do its work.
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