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 »
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
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 »
A number of swamp land men have died by strangulation and the inhabitants believe that an innocent man they hanged is seeking revenge on all of the male descendants of those responsible for... See full summary »
Rosemary La Planche,
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 <email@example.com>
The painting, featuring cats and a child, shown in the Reed's home and described as Irena's favorite piece of art, is the Goya work, "Don Manuel Osorio". See more »
In the Reeds' house, there is a small side table with two figurines and a vase near the closet where the coats are kept. This table varies from having a backboard on it (when the carolers some to the house) to lacking one (when Oliver takes Amy outside to look for Irena and later when Amy flees the house). 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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