La marca de la pantera

Jacques Tourneur directed this Val Lewton production that stars Simone Simon as Irina Dubrovna, a Serbian immigrant working as a fashion artist in New York City who meets Oliver Reed(played by Kent Smith) at the zoo. They fall in love and get married, but run into trouble when she finds herself afraid of intimacy, since she believes the fables and legends of her homeland that indicate she is descended from a cursed line of Cat People, who turn murderous when aroused. He scoffs at this, but when his friend & co-worker Alice(played by Jane Randolph) is stalked by a cat-like creature, he begins to wonder. Meanwhile, Irina sees psychiatrist Dr. Louis Judd(played by Tom Conway) who has designs on Irina himself... Eerie and original film avoids monster movie clichés to create an effective atmosphere of dread. Quite intelligent as well, though requires patience, since it is decidedly different!

This film hits me on the most personal level of any film I've ever seen. This tale about a young, beautiful, Serbian immigrant named Irena, who marries a man named Oliver, but can't have sex with him because she believes she'll kill him, is a movie that speaks to me every time I watch it. I see so much of myself in the character of Irena, and I connect so much with her tortured psyche. The way she is afraid of hurting those she cares about, the way no one can understand her, and the way she's her own other worldly being are aspects that I can identify with, and make me look at Irena as a kindred spirit for me. But aside from relating to the lead character, I also adore Jacque Tourneur's artistic direction, the story, the lighting, the music, the dialogue, and the overall poetic, and darkly romantic feel to this movie. This film is a true work of art, I've watched it millions of times, and I'm still not done with it. Val Lewton, I love you!

An American man (Kent Smith) marries a Serbian immigrant called Irena Dubrovna (Simone Simon) , a shy woman who fears that she will turn into the cat person of her homeland's fables if they are intimate together . Dubrovna believes she carries the Serbian curse of the panther . As strange Irena knew strange, fierce pleasures that no other woman could ever feel . She was marked with the curse of those who slink and and court and kill y night . Oliver then sends Irena for treatment with psychiatrist Dr. Louis Judd (Tom Conway) . Meanwhile , Reed finds consolation with his colleague Alice Moore (Jane Randolph) and then jealousy and envy crop out . Later on , rampages take place through community .

Over-the-top classic picture filled with thrills , intrigue , drama , a loving triangle , some moments of shock and results to be pretty entertaining . Atmospheric goings-on dominate this typically tasteful horror study from director Tourner . Suspense , tension and horror is exposed lurking , menacing , harassing in rooms , stairs , doors and a menagerie . Cinematography by Nicholas Musuraca is magnificent , plenty of lights and dark originating an eerie and creepy scenario . The movie was produced by RKO and its most known and famed producer , Val Lewton , the biggest producer of horror classics (I walked with a Zombie , Leopard man , Bedlam , Ghost ship ), plus he produced for director Mark Robson (in Cat people he works as an editor) numerous films (Isle of the dead , seventh victim) with similar technicians and artists . R.K.O. gave Val Lewton only $150,000 to make the film , resulting in "creative" producing . In fact ; because of the incredibly tight budget, sets from Orson Welles' The Magnificent Amberson were re-used . This forced many of the scenes requiring special effects to be done in shadows which many believe increased the suspense of the film . When studio execs insisted that more footage of the panther be included in the movie, Lewton was able to maintain the budget and the suspense of the film by limiting how many scenes the panther could be visibly seen and told the cinematographer to "keep the panther in the shadows" . Thus the panther called Dynamite appeared in another film by the same producers/directors: 'Leopard man' and was only visible in the office and zoo cage .

RKO usual musician , Roy Webb , creates a fine score with the habitual musical director Bakaleinikoff . Excellent and evocative set design at charge of Albert D'Agostino . The picture was stunningly directed by Jaques Tourneur , being filmed in 18 days . The film was such a hit at the box office, the releases of the next two Lewton films I walked with a Zombie and Leopard man were delayed . Torneur knew the imagination was stronger than anything filmmakers could show visually and played on it with breathtaking results . Addicts to RKO horror should no account miss this movie . The flick will appeal to classic cinema moviegoers . Followed by a sequel titled ¨Curse of the cat people¨ by Robert Wise with similar cast as Simone Simon , Kent Smith and Elizabeth Russell . And an inferior remake (1982) by Paul Schrader with Natassja Kinski , John Heard , Malcolm McDowell , Scott Paulin and Ed Begley

One doesn't want for a second to take credit away from screenwriter DeWitt Bodeen, one of the most intelligent scenarists the horror film evr had the benefit of. But it's a matter of record that producer Val Lewton, here as on all his horror pictures, was responsible for the initial premise and the screenplay's final draft. And one wonders how much of Lewton - one of those male writers who tended to form his most empathetic bond with his female characters - there is in Irene: like him an eastern european immigrant (she from Serbia, he from Russia, albeit second generation he grew up in an essentially Russian household) living in the very different world of 40's America, both hyper-sensitive (particularly over morbid fantasies regarding cats) and artists of an essentially solitary and modest nature, but prone to fits of violent temper. Certainly, Irene is one of the most vivid and haunting protagonists any horror film ever had. Some critics may disparage the film as inferior to its follow-up, 'I Walked With a Zombie', but although that's a more completely achieved work, none of its characters captures the imagination as Irene does. One scarcely needs to heap more praise on the most celebrated suspense sequences, but the rest of the movie is more than just a set-up for these. It is, for one thing, oneof the supreme evocations of spiritual loneliness in the cinema. As Irene huddles by the doorknob between her and husband Oliver, while the panther in the nearby zoo calls out through the wintery night, this is an evocation of an isolation more than merely physical and tragically irrevocable. Lewton also had on his side, in this instance, the best of his directors, Jacques Tourneur, a sensualist (which could scarecely be said of his successors, Mark Robson and Robert Wise) who makes of the story a sort of tactile poem in the textures of the black fur of Irene's coat, the silk of her stockings, the flakes of falling snow on Irene and Oliver's wedding night, the wet tarmac across which Jane Randolph has to make her scary walk home, the ebony of an Egyptian cat-statue, the fabric of a couch torn by Irene's fingernails, the white enamel of Irene's bath-tub and the gleaming dusky hunch of her wet shoulders as she sits weeping within. This is a subtle movie, but also an intensely physical one. If there is a weak spot, it lies with the casting of Kent Smith as 'good plain Americano' Oliver Reed. His boy next door charm is hopelessly inadequate to the context of Irene's drama and he increasingly seems doltish and blindly insensitive in the blandness of his responses to her torment. The film might have been greater still if Lewton had cast an edgier, fierier actor, one whose incomprehension of Irene might have betrayed its own violent streak and extended the 'cat people' metaphor beyond Irene herself. Think of someone like John Garfield in the role! But Garfield would have been out of Lewton's budget range and one can scarcely harangue the producer for being too modest, in the production of his first quickie horror, for fully grasping how rich a work of film poetry he and his collaborators were in the process of creating. But poetry it is. The horror genre has never produced as much of that as it ought to have done, so for heaven's sake, make the most of this and the other Lewton productions.

'Cat People' was the first collaboration between director Jacques Tourneur ('Curse Of The Demon') and producer Val Lewton, and is still one of their greatest achievements, and one of the most influential horror movies ever made. It's arguably the best horror movie made between the Universal classics of the 1930s and the beginning of Hammer studios in the 1950s. So many subsequent film makers from Hitchcock on down have been influenced by this movie and yet it rarely gets the respect it deserves. 'Cat People' pretends to be a monster movie but is really something more complex, and relies on atmosphere and suspense rather than explicit shocks or gore (there is virtually none of the latter). Fans of Hitchcock and film noir will probably appreciate it more than hardcore gorehounds. Simone Simon is very well cast as the mysterious and troubled Irena and the rest of the cast range from adequate to very good. The acting is probably one of the weakest links in the film but not enough to spoil your enjoyment (I think 1940s acting is an acquired taste and I can see how a modern viewer who expects more realistic and natural performances could sometimes find them a bit hard to swallow). 'Cat People' is a horror classic and is highly recommended to anyone interested in the genre.