The Leopard Man

After their success in 1942 with the fabulous 'Cat People', the star team of producer Val Lewton and director Jacques Tourneur would team up twice the year later. First for the compelling and brilliant 'I Walked With a Zombie', and second for this film; The Leopard Man. For the movie, the two filmmakers re-cast the star of their first success, the big black leopard, in this movie, who once again plays a big black leopard. The screenplay this time round makes far better use of the animal at the centre of the film, which allows the impressive creature to make a much bigger impression on the movie, and it also gives the film a unique edge over other horror movies, as there aren't a great deal that can build around a leopard. In fact, one thing that struck me about this movie was it's similarity to the 1980's remake of Cat People, and I wonder just how much influence that film took from this production. Anyway, the story here is deliriously simple and it follows a leopard that has escaped from a nightclub. After a few deaths, the cat is blamed...but is there more to this scenario than meets the eye?

Just like Val Lewton's earlier and later productions, The Leopard Man is notable for it's breathtaking atmosphere, which is once again up there with the greatest ever seen in cinema. The use of shadows and lighting is impressive, and when you combine this with Jacques Tourneur's incredible ability to stage a scene amidst this atmosphere; you've got a recipe for a truly great horror movie. This movie isn't as full of great scenes as Cat People was, but there is still some really good stuff on display, including my favourite scene which sees someone mauled behind a closed door. I'm not a big subscriber to the idea of 'less is more', but the scene I just mentioned goes to show just how well it can work if utilised properly. If the film had directly shown the killing, it would have uprooted the atmosphere and the terror of the movie on the whole wouldn't have been as astute. As it happens, The Leopard Man has got it spot on. But then again, would you expect anything less from a Val Lewton production?

I think 'The Leopard Man' is the most memorable and frightening of the three Lewton-Tourneur collaborations. While it may be more straightforward than 'I Walked With a Zombie' or 'Cat People,' it's more atmospheric and more effective because its chills are predicated on agoraphobic horror. 'I Walked With a Zombie' was confined to a tropical island setting, while 'The Leopard Man' takes place in a New Mexico border town, on the edge of town, so that we travel along the desolate and wide open spaces of the sleepy Southwest at nighttime.

Early in the film, a young Mexican girl is sent on a late-night errand by her mother to buy some tortilla. Being that the shop is closed, she must traverse the sandy expanse between town and the nearest open shop. During this trek, she must pass under a bridge, and the shadows and sounds that stalk her are terrifying. Recalling this scene, right now, gives me goosebumps.

Horror is the most cinematic of all genres, because it works directly on the viewer's emotions and fears, using atmosphere, sound, and montage as its tools. Most horror films are either exploitative or slick and empty, unfortunately, but to watch 'The Leopard Man' is to encounter the full potential of the horror genre, as Tourneur paints with shadows and not entrails. Forgive its plot holes and its lunkheaded denouement, because the journey there is a hair-raising walk in the dark.

Horror producer supreme Val Lewton teams up for the third and last time with director Jacques Tourneur to bring us The Leopard Man. Set in New Mexico, the story sees Jerry Manning (Dennis O'Keefe) hire a black leopard as a publicity stunt for his night-club performing partner, Kiki (Jean Brooks). Her rival, Clo Clo (Margo), is not impressed and promptly scares the animal into running away into the night. Pretty soon there is a panic looking as the cat appears to be mauling people to death. However, Manning & Kiki, driven by guilt, join the hunt for the rogue animal - but Manning is starting to believe the killings are not of the animal's doing...

Based on the book "Black Alibi" written by Cornell Woolrich, The Leopard Man's only crime is that it's not as great as its two predecessors, Cat People & I Walked With A Zombie. Rest assured, though, this is still a quality Lewton/Tourneur production. As a story it's simple and straight, with a running time of just over one hour keeping it lean and devoid of pointless waffle, but the piece positively thrives on its atmosphere - dealing as it does in murky shadows and unease inducing periods of silence. It also boasts a number of sequences that linger long in the memory, be it blood seeping under a door, the bend of a tree branch, or the dark under belly of a railway bridge, for such a short sharp shock of a movie there's so much to enjoy. The work of cinematographer Robert De Grasse (Vivacious Lady/The Body Snatcher) is top class and worthy of indulgence from the film noir loving crowd.

What you don't see is more effective on account of the eerie sense of dread that Messrs Lewton/Tourneur/De Grasse have built up. A fine film and proof positive that classic spookers could be made from relatively small budgets. 7/10

The escape of nightclub performer's leopard is followed by a series of mutilations--but are these the work of the leopard or of a serial killer stalking a small southwestern town? Although not one of producer Val Lewton's better known films, director Tourner endows the story with considerable atmosphere, and the result is a moody and intriguing film that holds it own with the more celebrated CAT PEOPLE and I WALKED WITH A ZOMBIE.

Like other Lewton films, THE LEOPARD MAN relies more upon what it suggests than upon what it actually shows. This film is particularly effective in building suspense in a series of scenes that show various characters walking--a saucy Spanish dancer strolling along the street, a frightened teenager making a night-time trip to the grocer, a young woman rushing through a cemetery at night. The cinematography is elegant in its simplicity, and the sound design is quite remarkable. Hard to find, but Lewton fans will find it worth seeking out.

Gary F. Taylor, aka GFT, Amazon Reviewer

A far better than average early film from the Val Lewton unit, The Leopard Man is as much murder mystery as horror picture. It is set in a New Mexico town where there are some weird goings on, including, among other things, big cat attacks. The photography is exceptional, moving from subjective to documentary-style objective without drastically altering the tone of the picture. What horror there is comes more from a sense of dread than anything that actually happens; also from the eerie feeling that certain places are unlucky, that some people are bound to die simply because of where they are. How true.

The star players are somewhat dull, but the supporting cast is quite good. And the merging and sometime colliding of the Anglo, Hispanic and Indian cultures is nicely presented. There is a sense of primitive feeling, of old religion, throughout the film, implied rather than stated, that is beyond the grasp of the hyper-rational lead players. We can catch this mood in fits and starts, but like the major characters, it eludes our grasp. Jacques Tourneur's direction is masterful every step of the way; and he uses music sensually yet emphatically, and the result is a fine-tuned film. It's major flaw is the revelation of the culprit, yet once Tourneur accepted the script's limitations he works superbly within them. The best thing about the movie is that its most crucial events happen mostly off-screen, leaving a good deal to our imaginations. And the minimalist script leaves a great deal in the dark, and even after the picture's florid, almost surreal climax, the air of mystery lingers. There are loose ends for sure, but Tourneur's polite, civilized touch dresses them up to appear profound and suggestive rather than threadbare, and the result is a pleasing conclusion that does not quite give the whole thing away; and we are left wanting to know just a little bit more. Tourneur was a true master.