Cat People

1942's CAT PEOPLE is a sad little psycho-sexual drama disguised as a horror flick.  I can't imagine anyone ever found it particularly frightening, even with scenes of a vulnerable young woman being stalked by a black panther.  The film, written by DeWitt Bodeen and directed by Jacques Tourneur, involves the strange case of one Irena Dubrovna (Simeone Simon), a sketch artist who lives in fear that she will transform into one of those fearsome cats if she dared be aroused.  This poses a sizable problem as she falls for and eventually marries Oliver Reed (Kent Smith), a handsome, decent but somewhat dull architect.

Irena is from Serbia and believes an old legend involving the villagers of her hometown, ones who turned to witchcraft during their enslavement to Muslim soldiers, Mameluks.  King John of Serbia eventually drove out the soldiers and killed those townspeople who exhibited evil, represented by large cats.  Could Irena be a descendant of "cat people'?

Irena and Oliver live like an old married couple, sleeping in separate beds, never even properly kissing.  Oliver is understanding, promising an eternity of patience with his bride.  But when things never improve in the marital relations department, Oliver suggests that she see a psychiatrist, the creepy Dr. Judd (Tom Conway).  To complicate things, Oliver's assistant at work, Alice (Jane Randolph), admits that she loves him.  Jealousy swirls on all sides. Some sheep turn up dead at the Central Park Zoo.  A panther follows Alice as she goes for an evening swim.

CAT PEOPLE has moments designed for suspense.  Alice's walk through the park and swimming pool excursion are the most famous scenes of this sort, but are most notable for how strikingly they are photographed (by Nicholas Musuraca) and lit.  The use of shadow is artful and exemplary, and depending on your inclinations can lead you down a rabbit hole and through a warren of interpretations.  As for the story, it seems fairly obvious to me that we're not really talking about spooky superstitions or merely watching yet another shallow "B" creature feature.  Rather, the filmmakers intend an examination of a societal outcast with sexual dysfunction and a severe identity crisis.  Of extreme shyness, inferiority complexes, and stunted emotional growth that never allow more than a childlike understanding of one's own sexuality.  Or maybe the opposite, of untamed sexuality and nymphomania? The battle for control of such?  I'll leave the heavier psychoanalysis to an expert.

The film is ultimately a trifle, a failure as a chiller but quite worthwhile as an intriguing drama that looks absolutely amazing.  Despite a short running time it does plod a bit.  Miss Simon is beguiling.