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: 1 / 1

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


Horror As ArtReviewed bytelegonusVote: 10/10

Not since the heyday of James Whale in the early and mid-thirties had there been anything like this one, a horror art movie. As persuasively acted by Kent Smith and Simon Simon, it concerns a young American architect, romantic if somewhat dry, and his Serbian-born wife, who has an irrational fear of turning into a cat. Since our introduction to her has her standing in front of the lion cage at the zoo, we are inclined to believe her.

The couple's sexual difficulties (we see him sleeping on the sofa) lead the husband to suggest psychotherapy, which turns out to have tragic consequences, as it gets the poor woman too in touch with her feelings. Very little of the horror in this film is shown. Cat People was revolutionary in this respect, and had a huge impact on many films that followed, not just horrors. The picture also put its producer, Val Lewton, on the map, making him the first and last wunderkind of B movies, as he became somewhat of a celebrity from this point on, turning out high quality fright films for the next four years. Never before or since has a B level producer achieved such status.

Director Jacques Tourneur deserves the lion's share of credit for this movie, bringing his light touch, in itself almost feline, to every scene; and in making the story seem far more intelligent than it is. Like Lewton, Tourneur was a gifted man whose natural refinement was both his making as well as his undoing, since a man of his taste and sensibility could never thrive in Hollywood, and could only expect success in fits and starts, as indeed would prove to be the case.

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.

Maybe even the greatest horror film ever madeReviewed byThe_VoidVote: 9/10

The horror genre has had many of the greatest films of all time stem from it, and Cat People is, without doubt, one of the best and most important. The film represents the first collaboration between (probably) horror's most important producer, and one of the genre's best directors. Under Val Lewton's watchful eye, Jacques Tourneur has managed to put together a film that successfully fuses a foreboding atmosphere with a terrific storyline and the result is a film with merits impossible to deny. The story starts off slowly, with Kent Smith's American gentleman meeting the Serbian beauty Simone Simon sketching a black leopard in a zoo. From there, the two fall in love amidst a backdrop of malevolence stemming from her belief that she is the victim of an ancient curse on her village that means she will transform into a black panther if emotionally aroused. The two get married anyway, but it soon becomes apparent that this curse will play a bigger part in their marriage than either of them first imagined or hoped.

There are two sides to this great movie. The first side is the technical one. Jacques Tourneur's handling of the camera is superb, and the way that the characters are manipulated into certain situations allows him to really show his talent. Consider the famous shadow-laden scene at the swimming pool, or the sequence that sees Jane Randolph being pursued by a mysterious presence. These scenes work not because of the characters or the situation; but because of the way that Tourneur captures the scene. He would go on to show this talent throughout his career, but it's done best here. The acting is typical of the forties, with much of it being soaked in melodrama. This actually helps the film because the heavy performances allow you to really get into what the film is trying to achieve and, despite the fact that the subject material is definitely 'B-class'; the acting gives it a grounding alongside the bigger budgeted films of it's day. The beautiful Simone Simon takes the lead role, and it's her persona and European origin that gives the film much of it's intrigue and mystery. Kent Smith and Jane Randolph are great in support, while Tom Conway shines like he has in several other Val Lewton films in his small but effective role as the psychiatrist.

The second side of the film concern's its story. This is the main reason why Cat People is such an enchanting piece of cinema. Soaked in mystery, the central plot - which handles themes of lust, aggression and not being able to subdue certain emotions, will always be relevant to whoever is viewing the film. While here it is portrayed in a much more extreme way than in real life, the fundamentals of what the plot is portraying exist in every person. More important than this, however, is the way that the mythology is built up around the 'cat people'. We are never really given a definite explanation as to what the curse is all about, and this allows the director to tap into the fear of the unknown, and this also allows him to keep the cards regarding the ending close to his chest throughout. Obviously, due to the time in which it was made; Cat People wasn't allowed to show shocking violence, but it implies brilliantly; and despite the fact that we never really see anything - it is easy to believe otherwise. The simple plot really helps the film as it allows it to convey what it needs to convey without getting tangled up in sub-plots and other non-essential elements; and this piece of pulp poetry really shows that you don't need an epic running time to create a successful film. I really can't recommend this film highly enough.

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