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 / 3

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


Shadow and light.Reviewed bydbdumonteilVote: 7/10

After several movies made in his native France ,Jacques (Jack) Tourneur makes his first American works in the late thirties."Cat people" is the fifth one;the others are difficult to see and anyway this is this movie that is looked upon as his towering achievement(with the exception of "out of the past") .His female star,Simone Simon,whose English was perfect,enjoyed a career in both countries too:her best part is easily Jean Renoir's "la bête humaine" ,(human beast:it's funny when you know she's playing a woman-animal here).

"Cat people" belongs to the fantasy and horror genre,but it does not really follow its rules.We're close to psychological drama.(Almost) deprived of "special effects" -which is a blessing-Tourneur works with his camera the way a painter does with shadow and light to create strange dreamy atmospheres The pièces de résistance are the scene in the swimming -pool that creates a feeling of terror without using the tricks of the trade,and the scene when Oliver and Alice are in the flat,hearing roaring.

The movie was ahead of its time in several respects:the Freudian allusions would later be developed by Fritz Lang("secret beyond the door",1945) and of course Hitchcock ("Spellbound",same year).You're going to say that these two great directors give their movies a "realistic" treatment and Jack Tourneur does not.Actually,he takes a divergent way:he introduces ambiguity,this ambiguity dear to Roman Polanski .After all,it could be a mere ,so to speak, neurosis.Few of the sequences actually deal with the supernatural :most of the time,it's a couple then a triangle:the "fantastic" elements could be real :the disturbing woman,who calls Irene "my sister",the scenes with the panther at the zoo,and the pool sequence can be explained by Irène's jealousy.

Although,it's only understood ,it's obvious that the marriage Irène/Oliver has not been consummated,because of a not clearly defined reason-how can a man as pragmatist as Oliver believe in such a far-fetched curse?Isn't it the fear of woman,of the original sin?.This topic will be brilliantly taken on by Christian de Challonges "l'alliance" (1970).Note also how Richard Donner aped the pet shops scene for "the omen" (1976).

It seems that Alice's character is an easy way out,and the weak part of the movie because she's essentially here to comfort the audience,to show the way to "straight" life and to secure a happy end.

The remake (1982) destroys all ambiguity,keeps nothing from the original story but the proper nouns ,and fills its quota of nudity and blood.Stick to the Tourneur version.

Absolutely amazing...Reviewed byMovieAddict2016Vote: 10/10

More often than not, it's much better to show nothing than anything at all. Hitchcock knew this, and that's how he essentially became known as The Master of Suspense. Had he shown Norman's "mother" from "Psycho" killing the girl in the shower in greater detail, the horror of the scene would have been more greatly ineffective as compared to just how haunting it is today.

Jacques Tourneur obviously understood this idea and used it to his advantage in "Cat People." An experienced director of cult horror films from the 30s and 40s, Tourneur's story of a woman with a mysterious background still works as a pinnacle thriller sixty years later. Movies like this aren't made anymore--and I mean that in a literal sense. A more modern director would use bad CGI effects to reveal the "cat woman" for what she is, and I can only imagine how an idea like this would translate to the screen nowadays. But the key to "Cat People" is that we never even see the cat people. We don't see anything. We don't want to see anything.

"A Kiss Could Change Her Into a Monstrous Fang-and-Claw Killer!" boasted the tagline in 1942. Of course, this is an ancient filmmaking technique for that age--symbolic of the loss of one's virginity, the essential background of the tale is rooted deeply in the nature and misconceptions of sexuality at the time.

The monogamy of it all is very subtle and, at first glance, nonexistent--but the deeper you look into the hints the clearer the signs appear. Irena is not allowed to kiss a man or she changes into a monstrous beast. A metaphor for loss of virginity and the result stemming from this is old folklore, and the film's use of Irena's background is more than just an explanation for her genetic traits--it is a way of creating the central idea that she lives in fear of her own background of sexuality. It's as subtle and effective as the entire film's approach to horror.

Irena Dubrovna (Simone Simon) is a fashion artist living in New York City. Born from a Serbian background, she lives under the impression that her own family's roots lie in an ancient curse of the "cat people" that were thrown out of a city in Serbia hundreds of years before.

Animals do indeed react strangely to her. She is unable to enter into a pet store, because the squawks of scared birds and the barks of sensitive dogs drown out the entire area. It is almost as if she is truly an animal. When she is given a pet kitten, she takes it back and exchanges it for a bird. The bird dies from fright weeks later.

When she meets Oliver Reed (Kent Smith) downtown in the city, she falls desperately and hopelessly in love, but the depression of her own fear of unleashing the cat within prevents her from coming in close contact with her own boyfriend--and eventual husband.

Left untouched by his own wife, Oliver eventually turns to his co-worker Alice Moore (Jane Randolph) for satisfaction (only lightly hinted at by the film), which ends up sparking a terrifying anger and hatred within Irena. Hounded by a curious psychiatrist (Tom Conway) and feeling like an outcast around her own husband, Irena's inner cat is indeed released and wreaks brief havoc upon those around her.

We never see the cat, and we never see Irena's transformation into another species. But, as I said before, it's much better--and certainly more effective--this way, as the suspense and mystery of the film propels it towards repeat viewings. The movie is even a bit like "Ginger Snaps," in a way, only it's certainly more moody and suspenseful. And there aren't any fake-looking dog puppets in this version of the tale.

It's always pleasant to watch classic movies late at night on a Friday or Saturday night. No one cares about them anymore--cheap straight-to-video movies air on television earlier than the classics. But these are the staples of every existing genre--specifically horror, when it comes to films like "Cat People." These types of films should be appreciated much more than they have been in the past, say, sixty years.

"Cat People" is an amazing achievement with a distinct sense of classic horror and a good dose of suspense. If you like horror--or if you don't--this is a must-see film, and it is certainly one of the most memorable cult horror classics of all time, led by some great performances and a very talented director behind the camera. What a treat.

5/5 stars.

  • John Ulmer

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.

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