The Curse of the Cat People (1944)
3.4 of 5 from 66 ratings
1h 10min
- General info
- Available formats
- Synopsis:
- A haunting sequel to Cat People (1942) co-directed by Robert Wise in which Amy, the young daughter of Irena (Simon Simon) and Oliver (Kent Smith), is a very imaginative child who is unable to differentiate fantasy from reality, and has no friends of her own age. Amy makes an imaginary friend through the ghost of her father's dead first wife, Irena, and befriends Julia Farren (Julia Dean), an aging, reclusive actress who is also alienated from her own daughter. This sequel, produced by the great Val Lewton, is widely regarded as 'the best movie about horror movies and why grown-ups watch them'.
- Actors:
- Simone Simon, Kent Smith, Jane Randolph, Ann Carter, Eve March, Julia Dean, Elizabeth Russell, Erford Gage, Sir Lancelot
- Directors:
- Gunther von Fritsch, Robert Wise
- Producers:
- Val Lewton
- Writers:
- DeWitt Bodeen
- Studio:
- Odeon Entertainment
- Genres:
- Classics, Drama, Horror, Thrillers
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Reviews (1) of The Curse of the Cat People
Lewton Sequel (spoilers, including for Cat People) - The Curse of the Cat People review by Steve
The bosses at RKO intended this to be a cash-in on their unexpected success with Cat People in 1942. But while it features the same principal characters, this must have been a disappointment to anyone who bought a ticket expecting another scare film. It is a fantasy, and a thoughtful study of a child’s loneliness.
Some familiarity with the first film is useful. Kent Smith and Jane Randolph are now married, but their relationship is haunted by the memory of his tragic first wife, Irena (Simone Simon). And this sadness is absorbed by their 6 year old daughter (Ann Carter) whose make-believe friend is… her father’s dead bride!
It’s really a reflection on the child’s insecurity, but imposed upon the characters of Cat People. The girl is troubled by her father, who she relies on for love and protection, but also punishes her and arouses her fear. When dad accepts her individuality, the ghost goes away.
And by implication, so does his own obsession with Irena. This is intelligent, subtle and sensitive. Yet interesting rather than compelling. It is the first credit for Robert Wise as director, but consistent with the style of the rest of producer Val Lewton’s acclaimed b-horror pictures. And by far the least of those.
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