Il bacio della pantera

What made Paul Schrader tackle this production I'm not sure. In a year when John Carpenter was doing his rendition of the short story, not even entirely so much the film, of The Thing, Schrader and his screenwriter decided to go back to the source of one of those stories no one really reads but pretends they have when in reality it's the original film everyone remembers. But this is an opposite case of Carpenters: where the original The Thing was, arguably, not really the masterpiece everyone remembers (albeit influential), the remake truly was. Jacques Tourner and Val Lewton crafted one of those quintessential horror films that scares precisely because how little we see of the actual panther on camera, while Schrader's film, actually, isn't a masterpiece of horror, not quite close at all really. And it's not even because Schrader decided to show the cat on screen, many times over (maybe it's a leopard, they look similar but it's closer to panther to me).

No, it's a different film due to permissiveness of the time period (it's the 80s vs the 40s, so this time we get plenty of nudity, "bad" language, and the Giorgio Moroder musical accompaniment which has dated pretty terribly), and with its subject matter being far more based on the romantic than in the original film. It's a strange effort this Cat People, where incest even comes into question (or rather it's right out in the open, at least between the two parties), the look and feel of New Orleans and the Bayou becomes another character, and the characterizations become enhanced by the mere presence of Malcolm McDowell's inimitable face and Nastassja Kinski's irrepressible sexual charisma on camera. Not to say she can't act, since she can hold her own very well even when she's seemingly doing not much except walking naked through a field at night or, um, walking naked in a room or, you know, not naked in a swimming pool.

How much is actually taken from the original Tourner film or the short story I really can't say for certain. The pool scene is the only one I can recall specifically lifted from the original (and, not too sorry to say, 42 for the win on that one). But comparisons can get too petty in this instance, perhaps, since Schrader's goal is to analyze the characters in this setting, what sex and desire and the psychology of a were-cat does to a person, or to people who realize what they're capable of, as opposed to just simple horror. Schrader's direction has some genuine moments of thrill, or just plain artistic satisfaction, like a not-so simple composition of a tracking shot of one of the hookers walking along on a street at night at her foot level. I'm even reminded of De Palma, whom Schrader worked with once before.

But at the same time, for all of the versatility of the actors, and the occasional moments of surreal imagination, there's also much camp as well (Ed Begley's character's fate for example) and a few really cheesy parts or just scenes that don't work or, perhaps, are too saddled with a need to push the button of sex on film. It's a hot number that works well, more or less, and would take a deeper analysis to dissect than I can give it right now. It's respectable, at the least.

Paul Schrader's version of Cat People is a movie that I've heard of, but never seen. After reading some of the reviews of the movie, I've decided to see on my own for the first time. I must say that I wasn't expecting a whole lot out of this movie because a lot of people who have seen it compared it to the original 1942 Val Lewton picture from RKO. Well, I was very impressed by this version of Cat People and I must say that it's a exceptionally well made, well acted psychological horror film.

Irena, (Nastassja Kinski), arrives in New Orleans, visiting her brother, Paul, (Malcolm McDowell), for the first time. As the movie begins, Schrader sets up the movie very well. Hundreds of years ago, the feline group of mysterious people, called the Cat People, have the ability to change into a black leopard after mating. Unknowable to Irena, Paul starts to develop a incestuous feeling toward her as in one scene, which is, one of the best scenes in the movie, he stalks her while she sleeps in his house for the first time.

Soon enough, Irena is given a job at the local zoo in New Orleans by Oliver Yates, (John Heard). Yates soon starts a relationship with Irena after he witnesses her watching a black leopard, roaming around its cage, milling for food. Irena doesn't tell Oliver about her family secret. Instead, the movie gets even better when Heard and Kinski start a relationship between the two while McDowell takes a turn of the worse, using his cat-like instinct to kill and prey on women, living in New Orleans.

Almost some of Paul Schrader's films walk a tightrope between sexual tensions. He never back away from that particular theme in Cat People. Schrader, as you may know, written the screenplay for Taxi Driver and also directed two feature films, Hardcore, which shares some of the same elements in this film and American Gigolo. His films are quite daring, but nevertheless, interesting and engaging.

Some people might look at this movie as a sleazy exploitation horror film. But, to the tell you the truth, it is not. This is a very good looking movie, with great cinematography, showcasing many colorful sets and sights in New Orleans. Some of the scenes are quite suspenseful, almost ranking up there with the Master of Suspense, Alfred Hitchcock. The imagery that is used in this movie are very well shot and photographed. One scene that sums it up at all up is when Kinski witnesses a leopard, tearing out a zookeeper's arm. What makes that scene work is that Schrader cuts that with a shot of a pool of blood, running through Kinski's shoes and into a drain in the floor of the zoo. That's very well done, indeed. You can almost feel the darkness and mystery of the picture itself, thanks to the superb music score by Giorgio Moroder.

Nastassja Kinski, I think, steals the movie, away from John Heard and Malcolm McDowell. She is one of the most interesting and mysterious actresses I've ever seen. She provides the movie with a spice of eroticism that lights up the scenes. You can't talk your eyes off of her nor ignore her. She is really something in this movie. Unlike so many other female characters in horror movies, she gives Irena a mind of her own when she develops sexual feeling toward the two completely different men. That's very daring for a actress to do in the movies.

Cat People is a very scary horror film that's very well made by Paul Schrader and also scored very effectively by Giorgio Moroder. An very good movie for adults to see. ★★★ 1/2 3 1/2 stars.

Like Joe D'Amato's "Buried Alive," this remake of "Cat People" is technically a love story with a tough horror exterior. Both aspects of these genres fit quite well to create an unconventional entertainment. The movie gets especially high mileage out of two inspired leads--Nastassia Kinski as the young, attractive virgin (she also looks like a more predatory version of Isabella Rossellini); and Malcolm McDowell, who still glows with all the playful malevolence he brought to "A Clockwork Orange," as her brother, who morphs into a panther when sexually aroused. In spite of an ill-defined supporting cast, Paul Schrader's assured direction, the bizarre script (by "Children Shouldn't Play With Dead Things" star Alan Ormsby), those lush New Orleans locations, and the chemistry between Kinski and McDowell keep "Cat People" afloat. It's a sexually charged horror story told with a straight face, and it works.

7/10

Alan Ormsby scripted and Paul Schrader directed this 80s remake of the well-regarded 1942 Val Lewton production. Nastassja Kinski stars as Irena Gallier, who hooks up with her long-unseen brother Paul (Malcolm McDowell), who ends up making insane demands of her. You see, he's been kept aware of their heritage while she, still an innocent, has been in the dark on the subject. Meanwhile, a black panther rampages through the community, and Irena falls in love with Oliver Yates (a bland, but likeable John Heard), a zoo curator.

There are quite noticeable differences between the 1940s and 1980s renditions. Schrader is much more *explicit*, and takes the implications of the schlocky title literally, while the Lewton film was all about *suggestion*. The 1942 film ran a trim hour and 13 minutes, while this takes its time and runs close to two hours. This version is much more sexy and much more violent, with Schrader taking advantage of the big leaps in special effects technology.

It was a clever move to reset the story in New Orleans, with its incredible atmosphere and European feel. It lends a definite presence to "Cat People" '82, as does the haunting electronic score by Giorgio Moroder. And that theme song (music by Moroder, lyrics by David Bowie, and performed by Bowie) really kicks ass! One nice touch is the "cat person" p.o.v. devised by Robert Blalack, but we only see this for one sequence. Visually, the film is stunning, with "visual consultant" Ferdinando Scarfiotti and cinematographer John Bailey giving "Cat People" '82 a great look. Legendary matte artist Albert Whitlock also lends his expertise.

Schrader is at least wise enough to pay tribute to the suspense / shock sequence which any fan of the 1942 version remembers well. And it leads to a genuinely creepy confrontation between Kinski (who's since come to terms with her reality) and a vulnerable Annette O'Toole. Speaking of these two fine ladies, the film certainly does not lack for attractive women, as cult actress Lynn Lowry and the bubbly Tessa Richarde also turn up. The cast, overall, is good, with the stars given strong support by familiar faces (Ruby Dee, Ed Begley, Jr., John Larroquette) and top character actors (Scott Paulin, Frankie Faison (who's curiously dubbed by Albert Hall), Ray Wise, and Marco St. John all make appearances.) Berry Berenson, widow of Anthony Perkins, appears as the pool attendant.

Pretty enjoyable overall, but this viewer would advise against spending too much time fretting over the differences in the two versions. They're clearly playing to different audiences. Lovers of creature features will likely derive some entertainment from this.

Seven out of 10.

It works pretty well as erotic horror/fantasy. Yes, there are some quibbles. Some of the special effects seem a little cheesy now, in the age of computer graphic effects. But, hey, it was 1982. A couple of times it was obvious that a character had jumped down and walked backward, and then the film ran in reverse to make the movements look more feline. Malcolm Mc Dowell came across as creepy and menacing, as usual. I had forgotten how beautifully doe-eyed an sylph-like Nastassja Kinski looked in this. And Annette O'Toole was great as the contrasting but lovely every-girl.