Cat People (1942) 1080p YIFY Movie

Cat People (1942) 1080p

Cat People is a movie starring Simone Simon, Tom Conway, and Kent Smith. An American man marries a Serbian immigrant who fears that she will turn into the cat person of her homeland's fables if they are intimate together.

IMDB: 7.43 Likes

  • Genre: Fantasy | Horror
  • Quality: 1080p
  • Size: 1.39G
  • Resolution: / fps
  • Language: English
  • Run Time: 73
  • IMDB Rating: 7.4/10 
  • MPR: Normal
  • Peers/Seeds: 3 / 8

The Synopsis for Cat People (1942) 1080p

Serbian national Irena Dubrovna, a fashion sketch artist, has recently arrived in New York for work. The first person who she makes a personal connection with there is marine engineer Oliver Reed. The two fall in love and get married despite Irena's reservations, not about Oliver but about herself. She has always felt different than other people, but has never been sure why. She lives close to the zoo, and unlike many of her neighbors is comforted by the sounds of the big cats emanating from the zoo. And although many see it purely as an old wives' tale, she believes the story from her village of ancient residents being driven into witchcraft and evil doing, those who managed to survive by escaping into the mountains. After seeing her emotional pain, Oliver arranges for her to see a psychiatrist to understand why she believes what she does. In therapy, Dr. Judd, the psychiatrist, learns that she also believes, out of that villagers' tale, that she has descended from this evil - women ...

The Director and Players for Cat People (1942) 1080p

[Director]Jacques Tourneur
[Role:]Tom Conway
[Role:]Jane Randolph
[Role:]Kent Smith
[Role:]Simone Simon

The Reviews for Cat People (1942) 1080p

Vastly underrated and hugely influentialReviewed byChris-435Vote: 9/10

I have this theory about the horror films of Val Lewton. It is my contention that these movies caused a sea change in the content and tone of the movies of Alfred Hitchcock. The reason I say this is simple, really: Lewton is the only filmmaker I have ever caught Hitchcock cribbing scenes from. He did it twice. Once from The Seventh Victim (dir. by Mark Robson), which I swear to god provides the first half of the Shower Scene from Psycho. The second from Cat People, which provided the pet store scene in The Birds. This second scene is almost a shot for shot swipe. Both of these steals are evidence that Hitch knew and admired the Lewton movies. More than that, though, there is a change in the subtext of Hitchcock's thrillers after the Lewton movies. The movies he made before them were cut from the Fritz Lang mold of political thrillers. After the Lewton movies, Hitch's movies became more psychosexual in nature. Vertigo, for instance, could easily fit into Lewton's output.

Cat People is the first of the Lewton movies and sets the tone for them. It pretends to be about a McGuffin (serbian were -panthers), but is actually about something else (in this case, frigidity and repressed lesbianism). This represents a huge change in the evolution of the horror movie. Cat People is the first horror movie to explore these themes as central concerns rather than as sub-rosa undercurrents. It also pioneered the techniques of film noir (which as a genre didn't really exist yet). Cat People is strikingly stylized and its effect is of stranding the viewer in the middle of a darkened room with some dreadful beast circling just outside his sphere of perception. This has a hell of an impact--particularly if you have the good fortune to see this in a theater. I'm not going to claim that Cat People is one of the best horror movies ever made (it does have flaws), but it is one of the four most influential horror movies ever made (along with The Cabinet of Dr. Caligari, Psycho, and Night of the Living Dead). But unlike its brethren, its influence spreads corrosively through the entirety of cinema through both film noir and the films of Alfred Hitchcock. You would be hard pressed to find any film short of Citizen Kane or Rashomon that is nearly as influential.

My favorite Lewton/Tourneur CollaborationReviewed byBrandtSponsellerVote: 9/10

At the zoo, Oliver Reed (Kent Smith) sees the mysterious Irena Dubrovna (Simone Simon), who is sketching a black panther. He's intrigued by her--it seems to be love at first sight--and is surprised when she invites him into her apartment for a cup of tea. While in her apartment, he sees an odd statue of a man on horseback, holding a sword-skewered cat high in the air. Dubrovna tells him of her native Serbia, and the legend of unchristian "cat people" who were driven into the mountains. Dubrovna's behavior becomes increasingly odd, and animals often react strangely to her. Could she have something to do with the legend of the cat people?

This was director Jacques Tourneur and producer Val Lewton's first horror/thriller film together (they were to do two others together, I Walked With A Zombie (1943) and The Leopard Man (1943)), and for my money, this is the best of the three. Lewton was famous for understated, atmospheric horror that suggested more than it showed, a style that is also evident in his later collaborations with director Robert Wise (who went on to direct the infamous The Haunting (1963), which is often thought to be a pinnacle of this more "suggestive" style, although it's not a particular favorite of mine).

So what does this mean? Well, a lot of younger horror fans, for whom the oldest film that they are really familiar with in the genre is something like The Texas Chainsaw Massacre (1974) or an even more recent film, might be reluctant to call Cat People a horror film. It is "talky", doesn't contain any graphic violence, and we don't even see a horror creature/villain until just a glimpse near the very end of the film. But it is horror--the talking is centered on a captivating supernatural "myth", there are a lot of creepy, well-photographed scenes laden with heavy shadows, there are a couple exquisite chase/suspense scenes, and there is a lot of complex, dark psychological interaction.

The psychological tension is really the focus, as Lewton and Tourneur's films together are moral parables that function more as a metaphor for horror (rather than the more common flipside, where the horror is more prominent and might be a metaphor for some other kind of philosophical point). In this case, the moral and social situations are varied and complex, but are all focused on romantic relationships, ranging from quick actions taken due to lust, to emotional distancing, adultery and abuse of power. The more one watches the film, the more one is likely to get out of the subtextual messages. They remain more subtextual than they might in modern cinema because of content restrictions imposed by studios in this era (although of course those were a reaction to prevalent cultural attitudes at the time). But in retrospect, the buried nature of the themes is a benefit, at least in this case.

Occasionally, the horrific aspect of these types of films can be too understated, so that they simply become realist dramas. That's not the case here. This is a film that is rewarding on many levels.

A 9 out of 10 from me.

Perhaps the most subtle and accomplished horror film of its eraReviewed byJamesHitchcockVote: 8/10

When one thinks of horror films from the thirties and forties one's first thought is normally either of Bela Lugosi as Dracula or Boris Karloff as Frankenstein's monster, but "Cat People" is an example of a very different style of horror film from this period, set not in nineteenth-century Europe but in a modern American city.

Engineer Oliver Reed (a name later to be made famous by a real-life actor) meets and falls in love with a Serbian-born fashion designer named Irena Dubrovna. The two are eventually married. Irena, however, hides a dark secret. She was born in a village whose inhabitants once practised witchcraft and devil worship; although most of this community were wiped out by the King of Serbia, "the wisest and the most wicked" of them escaped into the mountains, and it is from these that Irena is descended. Because of this heritage, she believes that she will transform into a black panther if she experiences any strong emotion, including jealousy or sexual passion, and therefore refuses to sleep with her husband. Fearing that Irena is mentally ill, Oliver persuades her to consult a psychiatrist. Irena's apparent mental problems lead to an estrangement between husband and wife, and Oliver finds himself becoming attracted to his work colleague Alice. Another attraction develops between Irena and her psychiatrist, Louis Judd.

Films about psychiatry were popular in the forties; examples include Hitchcock's "Spellbound" and John Brahm's "The Locket". "Cat People", however, is not really a film of this sort. Irena's beliefs are not the product of an insane delusion; she really can turn into a black panther under the influence of strong emotions. This presented the scriptwriters and director Jacques Tourneur with a problem as such a transformation would have been very difficult to show convincingly given the limited range of special effects available in the early forties. Tourneur, however, overcame that problem brilliantly. His solution was not to show Irena transforming into a panther; indeed, we never directly see her in her animal form at all. The only black panther we actually see is a captive specimen in the local zoo (which plays an important role in the plot).

In contrast to most modern horror films, which tend to rely on special effects and gore by the bucketload, the "horror" in "Cat People" is the result of atmosphere and suggestion. Much of the action takes place at night or in darkness, and small details- a shadow, a set of pawprints, the sound of an arriving bus (which might also be the hiss of a panther)- are used to build up a sense of menace overhanging the characters, especially Alice of whom Irena is intensely jealous. The suggestion is that Irena, in her cat form, is stalking Alice. Both Irena and Alice are attractive young women, and the way in which they are treated is strangely ambivalent. From one viewpoint, our sympathies are with the fully-human Alice, menaced by a savage creature only half human. From another, our sympathies lie with Irena, the wronged wife whose marriage is under threat from another woman. If Irena is a predator in the literal sense of the word, Alice is one in the metaphorical sense.

The film was followed by a sequel, "The Curse of the Cat People" in 1944, which again starred Simone Simon as Irena, Kent Smith as Oliver and Jane Randolph as Alice. It is a good film in its own right, but it is very different in tone to the original, having a serenity which suggests that the evil of the original "Cat People" has now been exorcised.

"Cat People" was remade by Paul Schrader in 1982, forty years after the original. It keeps (with some alterations) the characters of Irena, Oliver and Alice, dispenses with Dr Judd and introduces a new character, Irena's brother Paul. Compared to the original it is much more blunt, direct and sexually explicit. It has its good points, particularly the performance of that most feline of actresses, Nastassja Kinski, but lacks the delicacy and suggestive power of Tourneur's film, which is perhaps the most subtle and accomplished horror film of its era. 8/10

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