The Curse of the Cat People

'The Curse Of The Cat People' isn't really a sequel to 'Cat People' despite several recurring characters. It also isn't strictly a horror movie, despite having some suspenseful moments. Like 'Cat People' the line between the real and the imaginary is blurred, and being a Val Lewton production it is extremely atmospheric. 'Cat People's director Jacques Tourneur is replaced by Gunther von Fritsch, who I confess to know absolutely nothing about, and Robert Wise, who among many other things, is beloved to genre fans for 'The Day The Earth Stood Still' and 'The Haunting'. I'm not as big a fan of the latter as most horror buffs, I actually think 'Curse Of The Cat People' is the better movie. Kent Smith and Jane Randolph reprise their 'Cat People' roles. They are now married and have a child (Amy, played by the talented child actor Ann Carter). Smith is still trying to get over the death of his first wife Irena (Simone Simon), a story we know from the earlier picture. Amy is a loner with a rich fantasy life and this increasingly troubles her father, who fears it's going to be Irena all over again, even though Amy isn't her child. Amy wishes for a friend and begins to see Irena. Like 'Cat People' this can be "read" in any way the viewer cares to. This movie is one of the best I've ever seen about childhood and fantasy. Ann Carter is just terrific, and I particularly enjoyed the subplot involving her eccentric neighbours played by Julia Dean and Elizabeth Russell. These scenes were creepy and very gothic reminding me of both 'Rebecca' and 'Great Expectations'. Russell also had a very memorable bit in 'Cat People'. Her scene towards the end of the movie with Amy is unforgettable. 'Curse Of The Cat People' is overshadowed by 'Cat People', but to me it is almost as great. I highly recommend both movies and other Lewton productions like 'I Walked With A Zombie' (directed by Tourneur) and 'The Body Snatcher' (directed by Wise). These are some of the most important and influential horror movies ever made.

Never mind the lurid title; this is a charming fantasy involving a little girl and a lonely retired actress. Julia Dean actually hadn't done a film for a quarter of a century, and is terrific in her comeback role of the secluded actress who is delighted to befriend the child. Recommended to all.

This film is so much more than it appears to be at first viewing. It is essentially an adult's view of a lonely child's fantasies and how those fantasies affect her relationships with the adults around her. The performances are uniformly excellent with Ann Carter as Amy, the lonely girl, a standout. Her angelic look is perfect for her character. Also excellent are Julia Dean as Mrs. Farren, the ex-stage actress living in her own fantasy world, and Elizabeth Russell as her daughter, Barbara. And to justify the title reference to "Cat People", Simone Simon appears as Amy's imaginary friend. This is a small film that deserves a much larger audience. Excellent in all respects.

...this one is thoroughly commendable.Jacques Tourneur's "cat people " was more psychological Freudian fantasy and horror whereas Robert Wise 's sequel mostly deals with Gothic horror.This Gothic horror he would take to its absolute peak with "the haunting" ,twenty years after.

For a relatively short movie (about 70 min),there are SIX almost equally important female characters:the girlie,her mother,her teacher,her "friend" ,the old (laughing)lady and her daughter.This is the continuing story of Oliver Reed (not the actor)and the Alice whom he married after first wife Irena's death.The three characters -you read well even Irena) appear in the sequel.There's a lot of Gothic elements :the old house where an old lady tells terrifying tales about "sleepy hollow" (precisely Tim Burton's "spleepy hollow"),the strange borders of dream and reality,of the living and the dead,a subject which will be used a lot of times ;even if we can see the '"friend" ,she recalls sometimes Victor's part in Amenabar's masterful "the others".

But like in Tourneur's version,there may be also a Freudian side :the father/daughter does not seem to be very satisfying at the beginning of the film.Would the child be Irena's psychic daughter?

What burst of rebellious inspiration led producer Lewton and writer Bodeen to follow Cat People with this delicate rumination on the fantasy life of a child. I can't imagine the studio was pleased. War-time audiences sought escape, not introspection. Yet, I've seen nothing like it before or since.

Only-child Amy Read (Ann Carter) is lonely and imaginative, trusting in others probably to a fault. Daddy tells her there's a magic mail-drop in a tree and she believes him, with unfortunate consequences. Other kids shun her because while they play, she chases butterflies. Daddy is sympathetic but uncomprehending. What Amy wants more than anything is a friend, and in desperation she makes up an imaginary one-- enter Irina (Simone Simon) from the Cat People in a rather revealing princess gown. But is Irina simply imaginary-- after all, she does cast a visible shadow. This theme of a lonely child, along with that of Irina and the spooky old house are ultimately woven into a somewhat awkward, yet memorable, balance.

Notice how magically Amy's back yard transforms into a fairy-tale wonderland when Irina appears. I expect this is a common wish for many lonely little girls who find a better world in their imagination than the one they live in. Here that fantasy world comes alive in a glittering fashion where Amy can at last be happy. Contrast that magical world with the hum-drum one of the family's and the truly spooky one of the old lady's and her neglected daughter. Of course, no one can survive in an unreal world, but an unreal world can help little ones survive, as it does for Amy.

Little Ann Carter is not much of a child actress, rather wooden and expressionless, suggesting an underlying element of stage fright. Yet it's just these qualities that suggest the deeper unhappiness her character Amy must feel in her loneliness. A more expressive little actress might have had the unfortunate effect of drowning the part in tearful emotion. I may be mistaken, but I don't believe Amy smiles more than once or twice during the entire production.

With her scary feline features, I expect Elizabeth Russell's "Barbara" was added to connect with the Cat People. Whatever the reason, it's one of the oddest parts in the entire Lewton series. Disowned by her mother, Barbara has little more to do than skulk around the Gothic mansion like a wild woman nourishing hatred against batty old Mom. I bet a collective shudder passed through war-time audiences whenever Russell put in a sudden appearance. Anyway, scary or not, the climax in the old house is one of the most touching and unexpected of any horror film, even though the very last scene remains predictably conventional and much too pat as was required of movies of the day.

Nonetheless, this is a one-of-a-kind and only qualifies as a horror story in the most extended sense. And ironically, when you think about it, Amy is saved only because her imagination projects past Russell's scary adult appearance to the injured child and wounded adult beneath. Without that profoundly child-like ability both she and Russell would have been lost. And what a good thing film-maker Lewton tried to follow his own drummer as best he could, even in a studio industry where imagination was valued only so long as it followed orders.