One of the unique aspects of the horror films produced by Val Lewton at Rko in the 1940s is the seriousness with which they discuss matters of mental illness. Even today, mental health issues are often tiptoed around, but in the forties, they were practically taboo. As discussed in previous entries in this column, Cat People (1942) is largely about repression and The Body Snatcher (1945) deals with guilt, paranoia, and psychopathy. The Seventh Victim (1943), one of the lesser-seen entries in the Lewton cycle, is about loneliness, the depression that stems from it, and suicidal ideation. It externalizes the inner struggles between the light and darkness that use the mind as a battlefield and demand a choice between life and death. Because of the unflinching way The Seventh Victim approaches the subject of suicide, this should be a considered a content warning for the discussion to come later. But first, some background on the film itself.
- 8/7/2023
- by Brian Keiper
- bloody-disgusting.com
By John M. Whalen
It’s 1941, the day after Pearl Harbor. The nation is nervous about the possibility of another bombing raid by the Japanese, and nobody is more nervous about that possibility than Champ Larkin (James Craig) and his pal Jimbo (Frank Jenks), two convicts doing time on Alcatraz. Champ’s a pretty self-centered guy. He isn’t at all concerned about the war. It’s none of his business. “If they want to fight, let ‘em fight.” he says. “Theres a law says they can’t draft convicts. We’ll sit this one out.” (Jimbo’s a little more thoughtful. “I don’t know, Champ,” he says. “Anybody pulls a sneak trick like that is a rat and a rat means trouble here and there.”)
When they see some Zeros coming in over the Pacific to do a flyover of San Francisco, Champ decides it’s time to evacuate.
It’s 1941, the day after Pearl Harbor. The nation is nervous about the possibility of another bombing raid by the Japanese, and nobody is more nervous about that possibility than Champ Larkin (James Craig) and his pal Jimbo (Frank Jenks), two convicts doing time on Alcatraz. Champ’s a pretty self-centered guy. He isn’t at all concerned about the war. It’s none of his business. “If they want to fight, let ‘em fight.” he says. “Theres a law says they can’t draft convicts. We’ll sit this one out.” (Jimbo’s a little more thoughtful. “I don’t know, Champ,” he says. “Anybody pulls a sneak trick like that is a rat and a rat means trouble here and there.”)
When they see some Zeros coming in over the Pacific to do a flyover of San Francisco, Champ decides it’s time to evacuate.
- 11/21/2016
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Rko's morale-building wartime thriller adds an element of sexual perversion to its story of Nazi crimes against children, thus creating one of the studio's all-time biggest hits. Bonita Granville is the victim Tim Holt her Nazi-youth heartthrob, and Otto Kruger provides the perverted sneers. Hitler's Children DVD-r The Warner Archive Collection 1943 / B&W / 1:37 flat Academy / 82 min. / Street Date December 1, 2015 / available through the WBshop / 21.99 Starring Tim Holt, Bonita Granville, Kent Smith, Otto Kruger, H.B. Warner, Lloyd Corrigan, Erford Gage, Hans Conried, Gavin Muir, Nancy Gates, Egon Brecher, Peter van Eyck, Edward Van Sloan. Cinematography Russell Metty Film Editor Joseph Noriega Original Music Roy Webb Written by Emmet Lavery from the book Education for Death by Gregor Ziemer Produced by Edward A. Golden Directed by Edward Dmytryk
Reviewed by Glenn Erickson
Perhaps the most popular anti-Nazi info-propaganda thriller of the war, Hitler's Children is a very well made shocker that...
Reviewed by Glenn Erickson
Perhaps the most popular anti-Nazi info-propaganda thriller of the war, Hitler's Children is a very well made shocker that...
- 1/12/2016
- by Glenn Erickson
- Trailers from Hell
Val Lewton’s third horror film, The Leopard Man (1943) initially seemed promising. Based on Cornell Woolrich’s novel Black Alibi, it had more pedigree than Lewton’s previous movies. He reunited his previous team: director Jacques Tourneur, writer Ardel Wray, even Dynamite, the black leopard from Cat People. Forced again to film on the Rko lot, he sent Wray to photograph Santa Fe, New Mexico and crafted meticulous sets around her snapshots. Despite this attention to detail, The Leopard Man is one of Lewton’s weakest efforts.
The plot is simple enough. Nightclub entertainers James (Dennis O’Keefe) and Kiki (Jean Brooks) arrive in Santa Fe with a leopard in tow; Kiki’s rival Clo-Clo (Margo) scares the cat, which escapes into the city. The leopard kills a Mexican girl, sending the city into a panic. Several other women die, but James grows convinced that the leopard isn’t behind them.
The plot is simple enough. Nightclub entertainers James (Dennis O’Keefe) and Kiki (Jean Brooks) arrive in Santa Fe with a leopard in tow; Kiki’s rival Clo-Clo (Margo) scares the cat, which escapes into the city. The leopard kills a Mexican girl, sending the city into a panic. Several other women die, but James grows convinced that the leopard isn’t behind them.
- 10/13/2015
- by Christopher Saunders
- SoundOnSight
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