A dark thriller from the popular '40s pairing of director Mark Robson and producer Val Lewton. This relies heavily on atmosphere to unsettle the viewer instead of any visual effects; in fact, there are no special effects at all in this film. There are no monsters, ghouls, ghosts, or spirits. In fact, only two people get killed in the entire thing. Therefore this film might be inaccessible to the latest crazed horror fiend who has been brought up on blood, guts, and more blood. Personally, I found this to be a creepy little low-key thriller.
While the Satanic plot may be nothing new, in some ways this film is very different indeed. For instance, the Satanists are depicted as a genteel, tea-drinking group who hate violence, not the typical robed maniacs with huge sacrificial knives. Therefore, the baddies in this film are more chillingly realistic than you might imagine, they could be your fellow workers or neighbours. This was one element of the film I liked. The acting is all above average with the cast giving subtle performances, from a youngish Tom Conway who fits the role of a stern British doctor to a tee through to Isabel Jewell as the surprisingly likable female lead, who gets to be tough and assertive in some scenes, which makes a usual change from the usual role the girl was relegated to in this period - a screaming victim.
It's also a plus to have Val Lewton on board, who once again includes much of his own unique visual style. Shadows are used heavily (the very best is made of the black and white) to suggest menace, and it works, making the viewer feeling disquiet and nervous, instead of having in-your-face shock horror, the sort with which we bombarded these days. The strong visual imagery - the horror of the swinging noose - plus the oodles of atmosphere help to lift the plodding plot, which has to be said doesn't really go anywhere. And check out the ending - surprisingly downbeat for the time. THE SEVENTH VICTIM may be difficult to watch for some because it has dated somewhat today, but nonetheless the use of visual artistry is highly effective.
While the Satanic plot may be nothing new, in some ways this film is very different indeed. For instance, the Satanists are depicted as a genteel, tea-drinking group who hate violence, not the typical robed maniacs with huge sacrificial knives. Therefore, the baddies in this film are more chillingly realistic than you might imagine, they could be your fellow workers or neighbours. This was one element of the film I liked. The acting is all above average with the cast giving subtle performances, from a youngish Tom Conway who fits the role of a stern British doctor to a tee through to Isabel Jewell as the surprisingly likable female lead, who gets to be tough and assertive in some scenes, which makes a usual change from the usual role the girl was relegated to in this period - a screaming victim.
It's also a plus to have Val Lewton on board, who once again includes much of his own unique visual style. Shadows are used heavily (the very best is made of the black and white) to suggest menace, and it works, making the viewer feeling disquiet and nervous, instead of having in-your-face shock horror, the sort with which we bombarded these days. The strong visual imagery - the horror of the swinging noose - plus the oodles of atmosphere help to lift the plodding plot, which has to be said doesn't really go anywhere. And check out the ending - surprisingly downbeat for the time. THE SEVENTH VICTIM may be difficult to watch for some because it has dated somewhat today, but nonetheless the use of visual artistry is highly effective.