“When
children are happy and lonely and good,
The friend
of the children comes out of the wood…”
These lines
from Robert Louis Stephenson’s poem Unseen
Playmate neatly sum up the poignant premise behind Val Lewton’s sixth film
as producer, Curse of the Cat People
(1944), a sequel to his celebrated first hit Cat People (1942) Quoted in the film, they seek to understand the
needs of the main character, a friendless child desperately seeking
companionship. The original film concerned itself with the complexities of
adult relationships straining under dark secrets of identity and expression.
Here the focus is on an altogether more fragile and charming world, that of a
six year-old girl who also yearns to be understood and nurtured, but by
creatures of fantasy, while struggling with the well-meaning concern and
scepticism of her solidly real-world parents. Fans of Lewton and the inciting
film need not be put off; Curse is a
beautiful and lyrical story that straddles the worlds of fantasy and reality
whilst satisfyingly recalling and separating itself from its creator. Just don’t
go expecting murderous claws and chaos.
It’s always
worth stressing the enormous difference in quality between a Val Lewton movie
experience and the expectations caused up-front by the lurid titles with which
he was contractually saddled. Curse
is no exception; Lewton tried to get RKO to let him call it Amy and her Friend which would have been
truer to the central idea. As with all of his output it is a textbook example
of how a caring, hands-on producer can truly benefit his films, investing them
with remarkable autobiographical details and literary depth despite not being
directly behind the camera. To helm Curse
he gave his editor Robert Wise his first directing credit. Stories in The Hollywood Reporter claimed this was
a rescue tactic after assigned director Gunther von Frisch (whose background
was solely in short films) had used up all the allotted eighteen days of
filming to shoot only half of the screenplay. Wise finished nine days over
schedule having no choice but to push the budget from $147,000 to $212,000.
There is no
rush-job taint about the finished film. From the beginning we are taken with
loving care into the world of lonesome little Amy Reed from whom the film never
lets slip its sympathy. One a school day-trip she is singled out bluntly by her
classmates, and with greater sensitivity by her teacher, as “…A nice girl. Only
a little different”. She can only relate
to non-human creatures such as butterflies, and when a boy interferes she slaps
him, earning an interview between her teacher and parents.
This allows
us our first recall to Cat People in
the return of Kent Smith and Jane Randolph as mum and dad Oliver and Jane Reed.
Smith seems to have got his life back on track with Jane after his first
marriage to Simone Simon’s feline femme and yet something about Amy always
reminds him of her: “Moody…sickly. She could almost be Irena’s child”. Another
echo from the past is Elizabeth Russell whose Slavic (and possibly
shape-changing) sob sister haunted Irena in a memorable cameo in the previous film,
and now wafts enigmatically on the fringes here too. She stands guard as a
coldly unhospitable resident of the spooky neighbourhood house from which the
gift of a ring is thrown down to Amy by an unseen elderly lady.
Amy’s world
seems a sullen gloomy mind-scape and young Ann Carter couples this with a sweet
unprecocious charm. We can’t help but feel sorry for her when she scuppers her
own birthday party after having posting the invites in the tree she still
believes is magic in her garden. This was one of a number of real
autobiographical memories of Lewton’s that he gifts to his protagonist to curry
our sympathy. However, hers are the kind of idyllic childhood trappings set up
to resemble a fairy-tale - she is raised in a beautiful home complete with the
archetypal white picket fence and a picturesque garden by two doting and united
parents. Curse contains many of the
classic tropes of children’s fiction as we will see. The family are affluent
enough to employ the kindly Jamaican housekeeper Edward played by Sir Lancelot
(whom we last saw him gracing I Walked
with a Zombie). He is not a contrived fantasy projection though - Lewton
was continuing the admirable policy through all of his films of according all
racial minorities the dignity and respect in their jobs and personalities that very
few other Hollywood filmmakers were showing.
Fanciful Amy
imagines her ring has magical properties and with heart-breaking vulnerability
she asks
“I wish for a friend”. When she disobeys her folks to return this magical
talisman to the creepy house again, her long blonde hair and white pinafore
dress reminds us of the innocent yet headstrong heroine of Alice in Wonderland. If one needs more reminders of children’s
story-book classics, how about a fairy Godmother and a Wicked Queen? The former
comes courtesy of the elderly ring-bestower who introduces herself to Amy with
flamboyant faux-horror as “Julia Farrow - a stranger?” (Julia Dean). Coiffeured
and resplendent in pearls and jewellery, Farrow is a faded grand dame of the
stage yet still capable of ripples of ripe theatricality. Wicked feminine
villainy is unwillingly embodied by Elizabeth Russell whom we now understand is
the old lady’s daughter Barbara, which is more than the old lady will
acknowledge. (To Julia she is “A liar – an imposter!” - a poor substitute for
the daughter she believes died at the same age as Amy). Spurned Barbara seethes
with a private jealousy toward Amy as sharp as her exquisite cheekbones. One half-expects
her to produce a poisoned apple for the cute little interloper.
Julia
radiates the twinkly-eyed naughtiness of a vital plot facilitator in Amy’s
growth, but with a definite strain of foreboding to be heeded along the way. On her way in, the child had already spotted
amongst her furniture a macabre stuffed cat ferociously swallowing down a whole
bird. If that proves too subtle, the genteel old ham gives her a double dose of
warnings from performed literature (her background a handy vessel for Lewton to
quote the artistic influences that pervade his movies). To suggest paranormal
influences edging closer, Julia quotes the titular killer king from Macbeth, Shakespeare’s most
supernaturally-drenched play, after he fatally stabs his monarch: “Wake Duncan
with thy knocking. I would thou couldst.” Even more powerfully she recites a
Headless Horseman sequence from Washington Irving’s short story The Legend of Sleepy Hollow (1820)
featuring a bug-eyed exhortation to Amy that “You must ride…ride…ride!”
The vivid
scaring of Amy becomes the catalyst for the first ethereal visitation to come
to her in her bedroom. She is awoken by the ominous Headless Horseman’s hooves,
an example of Francis M. Sarver and James G. Stewart’s effective sound work.
Unlike in Cat People though, the
sudden shadowy figure looming over her presages companionship not peril. It is
the welcome re-entry of Simone Simon’s slinky feline Irena. “I’m glad you
came...my friend” she says in delight. Cleverly, whenever Dewitt Bodeen’s
screenplay signals one of Lewton’s trademark ‘Lewton bus’ jump-shocks, the
potential is diffused rather than exploited, ever mindful of the impressionable
young soul at the heart of this tale. (Later, when the same oppressive
Horseman’s hooves threaten to bear down on her on the bridge, J. R. Whittredge’s
editing times a truck arrival just late enough to miss startling the audience).
When the
ghostly Irena joins Amy in the garden, she re-frames positively what could
otherwise be
morbid: “You wouldn’t understand. I come from great darkness – and
deep peace”. This also recalls the unorthodox embrace of the dark she had when
alive in Cat People - “It’s friendly”.
Indeed, Irena seems to symbolise an enchanting fairy princess for Amy; dressed
in a flowing sash-bejewelled gown she is a perfect six year-old girl’s idea of
such a fantasy friend.
Sadly, Irena
cannot impact upon the adults’ lives despite singing a pretty song
counterpointing the family’s Christmas party rendition of the tonally-apt
‘Shepherd, shake off your drowsy sleep’. She is for Amy’s eyes only, and this
obsession eventually become an important wedge between her and her father when
he punishes her for refusing to deny that she can see Irena. There’s a touching
complexity to his actions that prevent us from blaming the poor guy – woven
into Oliver’s desire to make his daughter grow up a little are the bittersweet
memories of Irena that never quite let him move on. One of the most resonant scenes
in the film is the lingering shot as he leads Amy up the staircase to spank
her. Lewton’s maestro cinematographer Nicholas Musuraca casts a stark shadow of
him against the wall to reinforce that a cruel condemnation of her private
imagination is about to be delivered (off-screen, for extra awful power) by her
most cherished protector. Despite the professionally-trained reasoning of Eve
March’s Miss Callahan, the kind of supportive teacher every child remembers
later in life, Oliver is as regretful afterwards as Amy. It is every bit as
disturbing as the crushed precious innocence of the woodland creatures in
Disney’s Bambi at the news that “Man
has entered the forest”.
Since locations
are as iconic in fairy-tales as their stock characters, the woods also feature
meaningfully toward the end of Curse.
While her garden is a safe enchanting haven and the Fallon House is the type of property all good children are told not to play near, the woods harbour all manner
of traditional fears. The aforementioned Horseman pursues Amy as we saw while
her parents and the police track her down with bloodhounds.
There is
just enough time though for her to experience another trauma when she makes for
the Fallon house and unknowingly causes Julia to have what may be a fatal
seizure in the excitement. Upon seeing
Amy at hand, wicked witch Barbara spits “Even my mother’s last moments you’ve
stolen from me” but just before an even worse chastisement awaits Amy than at
home, she invokes the help of her friend one last time. This is one of two ambiguities
delivered in the film’s climax. We see Irena merge with Barbara’s form in a manner
that inexplicably pacifies Barbara’s wrath, and there is no happy ending for her
unresolved pain that now will never gain closure. Perhaps Lewton was making the
point (during the personal final rewrite he did on each script) that the
ever-present black cloud that dogged his life could plague the resolution of
others.
A rather
more optimistic ambiguity ends the movie when the family are reunited. When Amy
confirms that she can still see Irena, he replies: “I see her too darling”. Has
his remorse-cum-relief at Amy’s safety opened his heart to the very imaginative
possibilities he felt forced to beat her for? He is not looking in Irena’s
direction so we cannot be sure he isn’t simply indulging his daughter lovingly.
Either way, the hint of lingering magic is a fitting end to the pleasures of Curse of the Cat People.
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