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Val Lewton: The Man in the Shadows

  • Película de TV
  • 2007
  • TV-PG
  • 1h 17min
CALIFICACIÓN DE IMDb
7.4/10
772
TU CALIFICACIÓN
Val Lewton: The Man in the Shadows (2007)
Documentary

Agrega una trama en tu idiomaMartin Scorsese narrates this tribute to Val Lewton, the producer of a series of memorable low-budget horror films for RKO Studios. Raised by his mother and his aunt, his films often include... Leer todoMartin Scorsese narrates this tribute to Val Lewton, the producer of a series of memorable low-budget horror films for RKO Studios. Raised by his mother and his aunt, his films often included strong female characters who find themselves in difficult situations and who have to gro... Leer todoMartin Scorsese narrates this tribute to Val Lewton, the producer of a series of memorable low-budget horror films for RKO Studios. Raised by his mother and his aunt, his films often included strong female characters who find themselves in difficult situations and who have to grow up quickly. He is best remembered for the horror films he made at RKO starting in 1942. ... Leer todo

  • Dirección
    • Kent Jones
  • Guionista
    • Kent Jones
  • Elenco
    • Martin Scorsese
    • Orson Welles
    • Val E. Lewton
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.4/10
    772
    TU CALIFICACIÓN
    • Dirección
      • Kent Jones
    • Guionista
      • Kent Jones
    • Elenco
      • Martin Scorsese
      • Orson Welles
      • Val E. Lewton
    • 20Opiniones de los usuarios
    • 15Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
    • Premios
      • 2 nominaciones en total

    Fotos1

    Ver el cartel

    Elenco principal12

    Editar
    Martin Scorsese
    Martin Scorsese
    • Narrator
    • (voz)
    Orson Welles
    Orson Welles
    • Self
    • (material de archivo)
    • (voz)
    Val E. Lewton
    Val E. Lewton
    • Self - Son of Val Lewton
    Alexander Nemerov
    • Self - Author of 'Icons of Grief'
    Roger Corman
    Roger Corman
    • Self
    Glen Gabbard
    • Self - Author of 'Psychiatry and the Cinema'
    Jacques Tourneur
    Jacques Tourneur
    • Self
    • (material de archivo)
    Kiyoshi Kurosawa
    Kiyoshi Kurosawa
    • Self
    Geoffrey O'Brien
    • Self - Author of 'The Phantom Empire'
    Ann Carter
    Ann Carter
    • Self
    • (as Ann Carter Newton)
    Robert Wise
    Robert Wise
    • Self
    • (material de archivo)
    Elias Koteas
    Elias Koteas
    • Val Lewton
    • (voz)
    • Dirección
      • Kent Jones
    • Guionista
      • Kent Jones
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios20

    7.4772
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    Opiniones destacadas

    Michael_Elliott

    Lesser of the Two Lewton Docs

    Val Lewton: Man in the Shadows (2008)

    ** 1/2 (out of 4)

    Martin Scorsese produced and narrates this documentary that takes a look at the life and career of producer Val Lewton who hated the horror genre but become best known for his horror titles like The Body Snatcher, Bedlam, I Walked with a Zombie and Cat People. I personally find many of Lewton's horror movies overrated but they are popular so I understand the need to do a documentary on them but to do one on Lewton never really made much sense to me. It's even more senseless when you consider that another documentary, Shadows in the Dark was just made in 2005. As with that documentary, there really isn't much to Lewton so we learn very little. He didn't do interviews, didn't have any on camera stuff and in reality there's very little known about him so we don't learn a thing. When they discuss the movies we still don't learn anything outside the fact that Lewton hated horror movies and didn't want to work with Boris Karloff. Since there's nothing to Lewton I just can't justify having two documentaries about him and in the end neither of them do much. Roger Corman, Robert Wise and Japanese director Kiyoski Kurosawa are the only movie people interviewed and both only get a few clips.
    8ccthemovieman-1

    A Master At Making 'B' Look Like 'A'

    Val Lewton was another one of these guys (Sol Wurtzel was another) who was terrific at making "A" pictures on a "B" budget. To this day, Lewton's horror films are fairly well-known and receive wonderful notices by critics and film historians.

    This look at the somewhat-but-not altogether famous filmmaker is a 77-minute very interesting excursion that was made, I believe, for the Turner Classic Movie (TCM) network, and was aired several times recently (mid January of 2008). I assume it will run numerous times on the network, in future months. Director Martin Scorcese narrates this tale about Lewton, his history and his films.

    Some of the comments that particularly caught my ear, made by either Scorcese, Val Lewton's son, or by someone else in here, included:

    "His movies moved and spoke to audiences in a different way....Lewton's films were more terror than horror....He was always at odds with his bosses but never satisfied with is own achievements....There is no film footage of him, no voice recordings of him.......He had no inkling he would be remembered by posterity......Many scenes in his films reflected his own phobias and views on life, as an outsider......We are all potentially evil and possible murderers."

    Some of Lewton's films are examined in detail, beginning with "The Cat People," followed by "I Walked With A Zombie," "The Leopard Man," "Curse Of The Cat People," and to a lesser extant, films that followed those. It was interesting to hear about his struggles with RKO and his unexpected success later with Boris Karloff in several of his movies ("The Body Snatcher" being his best, in many people's opinion.) We also hear from directors Roger Corman, Jacques Tourneur (who worked with Lewton on a number of films) and the famous Robert Wise.

    This is a long documentary - and it is definitely slanted in favor of Lewton - and might have been more effectively edited down to an hour, but still pretty fascinating. I recognized the voice of actor Elias Koteas, who was reading some of the comments Lewton made over the years, almost in dairy or autobiographical form.

    Some of the Lewton's film clips shown here will just about give you chills watching them. This man was a master at frightening you with things unseen.
    6strong-122-478885

    The Man Behind RKO's Horror Film Success

    "The Man In the Shadows" is a fairly interesting bio-documentary that covers the life and career of low-budget, B-movie producer, Val Lewton, who worked almost exclusively for RKO Studios (poverty row) from the years 1942-1951.

    Originally from Russia - Lewton was clearly one of those very resourceful men who knew just how to produce good quality horror pictures on budgets of only $150,000, or less.

    Through stills, film clips, and interviews - The viewer learns all about the ins & outs of being a successful, but unappreciated, film producer like Lewton.

    *Note* - In 1951 (at the age of 46) Val Lewton died from a heart attack.
    dougdoepke

    Lewton: B&W Brilliance

    How well I remember seeing Cat People for the first time. I was almost bowled over by my first sight of poetic horror. It was the 1950's and cheap monsters were all over the drive-ins, fun, but hardly mesmerizing. Then, suddenly, there was Lewton's flick on the late show and I was transfixed by a whole new world of fright movies. The shadowy b&w was riveting, but the shadows of my imagination were beyond even that. As they say- a whole new world had opened up.

    Over time, I managed to catch the bulk of Lewton's extraordinary canon, especially The Seventh Victim (1943). That movie's bold ending showed what film censorship typically denied us. I tried to learn more about Lewton, but movie books were almost non-existent at a time when movies were still not considered an art form. To say that Lewton was an obscure moviemaker in a time of Ford, Huston, and De Mille seems almost an understatement. It wasn't until I got a collection of James Agee's magazine reviews that I saw Lewton's brilliance publicly affirmed.

    Thanks now to Matin Scorsese, later generations can dive into Lewton's fascinating world in a single sitting. The 75-minutes is replete with clips from his best films, along with commentary from Lewton directors Robert Wise and Jacques Tourneur, and other luminaries. Too bad the illustrious part of his career was so brief, brought down by studio maneuvering. More importantly, Lewton's work shows how unparalled b&w artistry continues even in our era of colorized spectacle. Plus, Lewton uses the spooky not only to open up horror but to lead us into the unique world of a lonely child (Curse of the Cat People, {1944}). Maybe I'm just an old fogey, but I'll bet if you tune in, you'll be as fascinated as I was on that long ago night.
    8nickenchuggets

    Lurking in the dark

    There are many people in movie history the likes of which will probably never be seen again, since many great films are a product of a person existing at a certain point in time and having certain ideas. Val Lewton, while not a director, is legendary in the realm of old horror movies for producing some of the most groundbreaking pictures of 40s cinema, such as Cat People, The Ghost Ship, I Walked With a Zombie, and Isle of the Dead. Born in the Russian Empire in 1904, Volodymyr Ivanovich Leventon was brought with his mother (who left his father behind in Berlin) to America via a ship which sailed from Hamburg. Once in New York, he eventually changed his name to Val Lewton. His first major claim to fame in the movie industry came in 1932, when a Clark Gable and Carole Lombard film (No Man of Her Own) was released. While not involved with the movie, Lewton had written a novel called No Bed of Her Own, which served to inspire it. He continued to acquire experience by working at MGM's publicity office, providing magazines comic versions of trending films. He would eventually leave this position when he had 3 subsequent novelizations that weren't very successful. Flying to California to meet with future Gone With the Wind producer David O Selznick, he was tasked with writing a possible script for a movie based on the russian novel Taras Bulba. The film never got made, but Lewton held onto his new position of being David's assistant. Although not a well known fact, Lewton actually was involved with Gone With the Wind, writing the part that shows countless wounded and dying Confederate soldiers in the city of Atlanta, then under attack from Northern forces. It is this morbid scene that gives the world a taste of what Lewton will be known for a few years later. In 1942, Lewton was given control of his own unit at RKO pictures. Tasked with making horror films that could rival Universal's monumental classics such as Frankenstein or Jekyll and Hyde, Lewton nevertheless had to follow a set of rules. He was not allowed to make use of more than 150 grand, he could not make up the titles, and none were to exceed an hour and 15 minutes. He first threw his hat in the ring with Cat People, a 1942 production that focuses on a newly married Serbian immigrant woman who believes she is cursed to become a panther every time a man gets intimate with her. The movie defied expectations and Lewton had the last laugh: it was cheaply made, but grossed over a million dollars. He followed up with I Walked with a Zombie, directed by Jacques Tourneur (who also did the previous one). Still very creepy today, the movie focuses on a girl that two brothers both like, and the nurse that takes care of her on a remote island in the Caribbean. While RKO was basking in the success Lewton had reaped for them, he finally was in a position to make his next movies without them really getting in his way. While RKO decided to promote Tourneur to directing higher budget movies, Lewton stayed where he was, which was probably just as well; the more expensive your movie, the more you have to deal with studios breathing down your neck. With Tourneur out of the picture, Lewton gave Robert Wise and Mark Robson director status. The Body Snatcher followed in 1945, which features Boris Karloff as a horse carriage driver who secretly commits murders at night in order to deliver corpses to a medical professor for use in his class. Lewton walked on thin ice with this one, as the Production Code wanted less violence in movies, but RKO wanted more of it. Boris also appeared in Isle of the Dead that same year, which is about a military officer (played by Karloff) who goes to a plague-infested island in 1912 to visit his wife's grave. Karloff later credited Lewton with saving him from being hopelessly typecast as Frankenstein for the rest of his life. In terms of good movies, this was about the end of the line for Lewton. In 1946, RKO boss Charles Koerner died, and the studio fell into chaos. Lewton fled RKO and found a new job at Paramount, producing My Own True Love in 1949. After this, Lewton went back to MGM in order to produce the comedy Please Believe Me, starring Deborah Kerr. It should be said that comedy was not Lewton's strong suit. Around this time, Lewton tried to do what he always wanted and start his own production company with his old friends Robson and Wise, where he had the power to choose what to produce. Lewton was eventually forced away from them after they couldn't agree on what to produce. In 1951, he produced his last film, Apache Drums. Although it was to be his final movie, it incorporated two firsts for him, as it was a western that was in color. After this, he would be offered a production job at Columbia working alongside Stanley Kramer, but the pressure of producing so many films so fast caught up to him, and he died of a heart attack at only 46. It is maybe correct to say the film business killed him, but as morbid as his movies were, Lewton was an important part of film history. If he was a more cheerful and positive person, we probably wouldn't have these films. As someone who has barely ever heard Scorcese's voice, this was a good documentary on a person who has produced some of my favorite old movies. There's a few I have not mentioned, but put simply, they can't be described with words. You'll have to see them in order to observe how Lewton deftly combined light with shadow, and darkness with mysterious wonder. Lewton's movies were special since they have that quiet and cozy feel to them, the perfect things to watch during a storm for instance. I used to think all old movies had this trait, but it's more rare than you think. Lewton's ability to tell great stories with engaging characters played by underappreciated actors made him a genius in the film world. He didn't have money for special effects, but he didn't need them.

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    • Trivia
      Val Lewton initially resisted working with Boris Karloff because he didn't want to make a "monster movie". However, when they did work together on El profanador de tumbas (1945), they developed a mutual respect and friendship. Both men knew that they had made a good film outside the bounds of the "monster movie" genre.
    • Citas

      Roger Corman: There are many constraints connected with working on a low budget, but at the same time, there's certain opportunities. You can gamble a little bit more. You can experiment. You have to find a more creative way to solve a problem or to present a concept.

    • Créditos curiosos
      All credited performers following Robert Wise are identified by a graphic or orally by the narrator.
    • Conexiones
      Features Ana Karenina (1935)

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    Detalles

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    • Fecha de lanzamiento
      • 2 de septiembre de 2007 (Estados Unidos)
    • País de origen
      • Estados Unidos
    • Sitio oficial
      • Turner Classic Movies
    • Idiomas
      • Inglés
      • Francés
      • Japonés
    • También se conoce como
      • Martin Scorsese Presents: Val Lewton: The Man in the Shadows
    • Locaciones de filmación
      • Los Ángeles, California, Estados Unidos
    • Productoras
      • Turner Classic Movies (TCM)
      • Turner Entertainment
      • Sikelia Productions
    • Ver más créditos de la compañía en IMDbPro

    Especificaciones técnicas

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    • Tiempo de ejecución
      1 hora 17 minutos
    • Color
      • Color
    • Mezcla de sonido
      • Stereo
    • Relación de aspecto
      • 1.33 : 1

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