While it is by no means true across the board, one can often consider the genre cinema of any given decade and have a fair idea of what to expect. For the 1950s this commonly means an obsession with the burgeoning Atomic Age, and low-grade monster movies. In the 40s when standards were even more strict under the Hays Code that came into effect several years before, this often means heavy emphasis on drama and investigation, with often mere suggestion of supernatural elements in passing, and scant actual visualization of the supernatural or abnormal. As a result, horror films of the 40s are not infrequently more gentle and soft-spoken, and less actively interesting or exciting, than like-minded fare from the 30s. Suffice to say that 1946's 'The catman of Paris' neatly fits the description of such fare. This doesn't mean it's bad, but it does arguably mean it has more of an uphill climb to stand out. Thankfully, while modest, I think this is duly well made and enjoyable just as it is.
Sherman L. Lowe penned an aptly compelling, satisfying story as well-traveled writer Charles, plagued by headaches, is thrown into suspicion in the wake of the violent deaths of select individuals. The telling may be tame by most any other standards but there's nevertheless enough of an edge of mystery, and a stirring of strange goings-on, to keep us engaged and curious. Those stunts and effects that we do see inject a measure of welcome vitality into the proceedings, helping to counteract tinges of ham-handedness that otherwise do the tone of this 40s genre flick no favors. Though constrained by the less robust nature of contemporary fare, the cast give commendable performances to bring the tale to life, and Lesley Selander's direction is likewise firm and mindful in building the feature with as much energy and heightened emotion as possible. The result is no revelation, but I can honestly say that it's more entertaining and worthwhile than I expected when I first sat to watch.
True, some of the ideas written into the dialogue - ruminations on the origins of the "catman" - are overly neat and clean, and lean on the hokey logic of Movie Magic as much as superstition. Still, there's something to be said of Lowe's imagination even in this regard. Meanwhile the picture is quite well made, including excellent sets, costume design, hair, and makeup, making the viewing experience one that's easy on the eyes. Even the editing and cinematography are notably appreciable. When all is said and done this is certainly not a title that will appeal to those seeking visceral thrills, and one must necessarily be receptive to the broad tenor of films of the era to get on board with what this one offers. With all this having said, I for one am pleased with how fun 'The catman of Paris' turned out to be, if lightly so. It's not anything that one needs to go out of their way to see, but if you do have the opportunity to watch then it's a decent way to spend an hour.
