The Catman of Paris

In late 19th Century a writer returns to Paris to learn that his acclaimed novel may be censored by the government since it seems to contain proceeds from a secret trial. At this time someone connected with that trial is killed by what seems to be a catman. The writer, who has memory lapses, is suspected, especially when his fiancée is also a victim, but his mentor and the daughter of his publisher with whom he is falling in love strive to protect him.

Although not a classic like Cat People, it is of the 1940's genre of horror films involving supernatural transformations, films that aspired to be atmospheric and subtle, avoiding the use of already worn-out clichés of the '30's horror films and generally not employing established horror-picture stars. Catman was slickly produced (for a B-minus film), but being done by Republic Studios it not surprisingly featured many elements of Western films (can-can girls, a saloon brawl, a carriage chase). --- The cast is excellent. It's a treat to see suave Austrian Carl Esmond in a leading role, while Slovenian actress Lenore Aubert, in perhaps her most engaging role, is well showcased here. Also, Adele Mara is a knockout, and always reliable Douglas Dumbrille is particularly good.

It is, of course, a minor film and will not please those, easily bored, who prefer their horror blood drenched with a thrill a second, or those who prefer only vintage films with major stars. But it a somewhat novel twist on the classic horror film and this reviewer has enjoyably viewed it several times.

The basic plot for The Catman of Paris wouldn't win any awards for originality: it sees controversial author Charles Regnier (Carl Esmond) arriving back in Paris just as people start to turn up dead, scratched to ribbons, as though by a large cat. Suffering from memory loss at the same time as the murders, Charles begins to believe that he is responsible, and the police would just love to pin the blame on him, his latest book having upset the French government. All the evidence does seem to indicate that Charles is the killer, but beautiful Marie Audet (Lenore Aubert) believes otherwise.

It's not very hard to work out who is the real villain, but the supernatural revelation at the end isn't so easy to predict: a crackpot's theory that the killer is capable of transmutation, turning into a half-human/half cat, turns out to be on the money, leading to an entertaining finale featuring the furry, fanged feline/man. Also adding to the fun is a rousing fist fight between Charles and four men in a restaurant, and a high-speed horse and carriage chase scene in which the police are incredibly trigger happy, shooting wildly at the three passengers in the carriage in front.

"The Catman of Paris" might as well have been called "The Copycat-Man of Paris", because what we have here is a cheap and inconspicuous - but not uninteresting - attempt to imitate the style and success of RKO's genius 1942 classic "Cat People" and its equally genius 1944 sequel "Curse of the Cat People". Those titles happen to be two of my all-time favorite movies, so I - for one - certainly don't mind watching another umpteenth rip-offs.

The film is more than decent, with a plot revolving around a distinguished but controversial young author who just returned to Paris after a long period in a tropical part of the world and finds several difficulties on his path. He loves a different woman than the one he's engaged to, the French government accuses him to exposing secret information via his "fictional" novel, and during his nightly walks around Paris he suffers from blackouts while people are getting ripped to pieces. Might it be that Charles Regnier returned home with a curse and turns into a lethal feline creature at night?

What I love about these ancient black and white movies is that they are short and don't waste any time! "The Catman of Paris" has a running time of barely 65 minutes, but it nevertheless features a talkative plot and a handful of exciting and action-packed moments. The highlights a feisty bar fight sequence and a wild horse carriage chase, which both could have come straight out of a western movie. The denouement isn't too complex to figure out early on already, and the cat-creature transformation sequence is rather weak, but those defaults don't bother me too much in a low-key 40s B-movie. The male cast is unremarkable, but "The Catman of Paris" does feature two strong female characters, with the protagonist's new love-interest Lenore Aubert and particularly his wicked fiance Adele Mara.

Charles Regnier is the author of 'Fraudulent Justice' which looks to become a bestseller. But it is potentially an embarrassment to the French Government. A man is carrying some secrets documents from the Archives of the Ministry of Justice when he is killed. His body has been clawed to ribbons as though he had been attacked by a powerful cat. The documents he was carrying go missing so it would seem that the murderer didn't want those papers scrutinized for some reason.

Suspicion falls upon Regnier as he was unaccountably out all night at the time of the murder. He is in the habit of leaving social gatherings on his own complaining of a headache. He sees visions of a storm and then the sight of a black cat appears. He seems to be suffering from amnesia brought on by a tropical fever he had contracted on his travels. He is accused of learning secret rituals he has discovered in India and Tibet.

A favorite of a number of 1940s B-mystery fans Douglass Dumbrille portrays the friend of Charles Regnier. There is a very good horse and carriage chase sequence but a confusing fight scene earlier in a cafe had been poorly executed. This is a reasonable mystery involving transmutation that has number of atmospheric moments. And the reproduction poster for this film with the killer's blue hand threatening the neck of a beautiful female victim has become collectible among horror film poster fans.

The Catman of Paris sounds more a movie about a jewel thief or second story man then a monster film. Lesley Selander was Republics go to western director and the cast has some recognizable faces but of course, no big stars. The catman is a were-creature and part of the fun is trying to guess who the shape shifter really is. Carl Esmond and Lenor Aubert are top billed and they give the proceedings a European flavor. There is bit more attention to period detail in the set and costume design then is seen in most of these little opuses.

Selander directed westerns and Catman rolls like a western. John Dehner, Anthony Caruso, and Robert J Wilkie would all go on to make their make in television westerns in the 1950's. Republic in house eye candy Adele Mara is around to liven up the proceedings. Sherman L Loews screenplay is a no frills and move the story along quickly affair. The FX is kept to a minimum with minimal lighting and the use of shadows and darkness in the shots to convey a creepy look and cover up the cheapness of the sets.

Catman of Paris is not going to entertain the blood, guts, and gore fanatics. Its an entertaining little, horror, western action film that keeps you guessing until the end.