"In case of emergency I'm grabbing the Val Lewton box set. The cats can fend for themselves." - Caftan Woman
Producer/writer Val Lewton ran his own B unit at RKO Studios for four years from 1942 to 1946 and left movie fans a slate of interesting and entertaining movies such as The Cat People, The Body Snatcher and I Walked With a Zombie. Lewton and his company creatively used low budgets, left-over sets, and studio-dictated titles in a testament to imagination.
The 1943 feature The Seventh Victim was an early directing assignment for editor Mark Robson (Champion, The Prize, My Foolish Heart, Isle of the Dead) and was another intriguing movie for the filmmakers who came to be known for their quirky tales. The story and script were written by DeWitt Bodeen (The Enchanted Cottage) and Charles O'Neal (Montana). The cinematographer was the master of moodiness, Nicholas Musuraca (I Remember Mama, The Locket).
Future Academy Award winner (A Streetcar Named Desire) Kim Hunter made her screen debut as Mary Gibson, thrown from the protective atmosphere of a boarding school to the unfamiliar streets of New York City in a search for her older sister who has mysteriously disappeared. Like Dorothy Gale in Oz some of the people Mary encounters are very nice and some ... are not, but she must search for her home and home is her only family, the mercurial Jacqueline.
Jean Brooks, Kim Hunter
Future Academy Award winner (A Streetcar Named Desire) Kim Hunter made her screen debut as Mary Gibson, thrown from the protective atmosphere of a boarding school to the unfamiliar streets of New York City in a search for her older sister who has mysteriously disappeared. Like Dorothy Gale in Oz some of the people Mary encounters are very nice and some ... are not, but she must search for her home and home is her only family, the mercurial Jacqueline.
What Mary learns of her sister is conflicting and disturbing. Jacqueline, played by the lovely Jean Brooks, has apparently sold her successful cosmetic business and disappeared. She has not only stopped writing to Mary and paying her tuition, but Jacqueline also refuses to see her husband. The husband is a lawyer, Gregory Ward played by Hugh Beaumont, who initially keeps the nature of his relationship with Jacqueline a secret from Mary. While drawn to Jacqueline's exotic individualism, Gregory and Mary are a more suitable match who fight their attraction for Jacqueline's sake.
Jacqueline was recently sighted at an Italian restaurant in Greenwich Village where she rented a room which is kept locked and contains only a chair placed under a hangman's noose. Mary becomes a boarder at the complex whose other residents include a consumptive woman played by Elizabeth Russell who calls herself Mimi (Cat People) and a poet who has lost his touch, nicely played with charm and pathos by Erford Gage. Sadly for fans of Gage, his life would be lost on Iwo Jima within two years.
Erford Gage, Tom Conway, Hugh Beaumont
Jacqueline was recently sighted at an Italian restaurant in Greenwich Village where she rented a room which is kept locked and contains only a chair placed under a hangman's noose. Mary becomes a boarder at the complex whose other residents include a consumptive woman played by Elizabeth Russell who calls herself Mimi (Cat People) and a poet who has lost his touch, nicely played with charm and pathos by Erford Gage. Sadly for fans of Gage, his life would be lost on Iwo Jima within two years.
Our poet, Jason, finds hope in the refreshing Mary and memories of a lost love. His circle of friends also includes psychiatrist Dr. Louis Judd, played by Tom Conway, who had been treating Jacqueline and knows a lot more than he lets on. Of course, Conway always had that look of superior knowledge about him. Will they help or hinder the search, and for what motives?
Lou Lubin plays Irving August, a job-hungry PI who stubbornly, and to his detriment, forgoes his usual fee to assist in the search for Jacqueline when told to mind his own business. Something about Mary's little girl lost in the big world brings out his inner white knight.
The Seventh Victim is, for me, a disquieting and subtle movie about power and the lack of it. We have a need to feel in control of our lives, yet too often the control rests with others. Jacqueline has created a thriving business and that should bring her satisfaction, but she is a thrill-seeker who wants more. She wants to control her life and the end of it. At least, that is the take Gregory and Mary have gleaned.
Gregory: "I love your sister, Mary. I love her very much. It's easy to understand now, isn't it? A man would look for her anywhere Mary. There's something... exciting and unforgettable about Jacqueline. Something you never... quite get hold of. Something that keeps a man following after her."
Mary: "Because I loved Jacqueline I thought I knew her. Today I found out such strange things, frightening things. I saw a hangman's noose that Jacqueline had hanging... waiting."
Gregory: "Well, at least I can explain about that. Your sister had a feeling about life; that it wasn't worth living unless one could end it. I helped her get that rope."
Beautician Frances Fallon, played by Isabel Jewell, in a conversation with Mary opines that most people are lost and lonely. Deep down was Jacqueline perhaps as lost as the gullible Frances? Others have banded together as Paladists or Satan worshippers and believe their rites give them power over others and over life and death. Jacqueline has fallen in amongst them and begins her ultimate power struggle.
The divergent plotlines, the search for Jacqueline, and the struggle for power are told from the outsider Mary's point of view. Murder and cover-ups result from the efforts. The Seventh Victim unfolds with scenes of shadowy nights and doorways, murky corridors leading to danger and deception. Intrusions into the privacy of minds and even the privacy of the physical space of a washroom.
Power is misused and power is stripped away. When Dr. Judd and Jason confront the Palladists openly with their base shoddiness they are disabused of their power, perhaps only momentarily, but it is a satisfying moment in the film. Is Jacqueline free from her tormentor's influence and true master of her own fate? It is not for us to know the secrets of things that go bump in the night.
Kim Hunter, Lou Lubin
Lou Lubin plays Irving August, a job-hungry PI who stubbornly, and to his detriment, forgoes his usual fee to assist in the search for Jacqueline when told to mind his own business. Something about Mary's little girl lost in the big world brings out his inner white knight.
The Seventh Victim is, for me, a disquieting and subtle movie about power and the lack of it. We have a need to feel in control of our lives, yet too often the control rests with others. Jacqueline has created a thriving business and that should bring her satisfaction, but she is a thrill-seeker who wants more. She wants to control her life and the end of it. At least, that is the take Gregory and Mary have gleaned.
Gregory: "I love your sister, Mary. I love her very much. It's easy to understand now, isn't it? A man would look for her anywhere Mary. There's something... exciting and unforgettable about Jacqueline. Something you never... quite get hold of. Something that keeps a man following after her."
Mary: "Because I loved Jacqueline I thought I knew her. Today I found out such strange things, frightening things. I saw a hangman's noose that Jacqueline had hanging... waiting."
Gregory: "Well, at least I can explain about that. Your sister had a feeling about life; that it wasn't worth living unless one could end it. I helped her get that rope."
Beautician Frances Fallon, played by Isabel Jewell, in a conversation with Mary opines that most people are lost and lonely. Deep down was Jacqueline perhaps as lost as the gullible Frances? Others have banded together as Paladists or Satan worshippers and believe their rites give them power over others and over life and death. Jacqueline has fallen in amongst them and begins her ultimate power struggle.
Kim Hunter
The divergent plotlines, the search for Jacqueline, and the struggle for power are told from the outsider Mary's point of view. Murder and cover-ups result from the efforts. The Seventh Victim unfolds with scenes of shadowy nights and doorways, murky corridors leading to danger and deception. Intrusions into the privacy of minds and even the privacy of the physical space of a washroom.
Power is misused and power is stripped away. When Dr. Judd and Jason confront the Palladists openly with their base shoddiness they are disabused of their power, perhaps only momentarily, but it is a satisfying moment in the film. Is Jacqueline free from her tormentor's influence and true master of her own fate? It is not for us to know the secrets of things that go bump in the night.
This post is part of the Val Lewton blogathon hosted by Stephen aka Classic Movie Man and Kristina of the Speakeasy blog. See more posts at either Classic Movie Man’s Lewton page or the Speakeasy Lewton page.
