Synopsis
She knew strange, fierce pleasures that no other woman could ever feel!
A Serbian émigré in Manhattan believes that, because of an ancient curse, any physical intimacy with the man she loves will turn her into a feline predator.
Directed by Jacques Tourneur
A Serbian émigré in Manhattan believes that, because of an ancient curse, any physical intimacy with the man she loves will turn her into a feline predator.
la Femme Panthère, Katzenmenschen, Ludzie-koty, La mujer pantera, Kissaihmisiä, Люди-коти, Kedi Kız, Il bacio della pantera, La Féline, Macskaemberek, 豹族, Oamenii felină, A Pantera, 캣 피플, Mačací ľudia, Sangue de Pantera, Οι Άνθρωποι Γάτες, Люди-кошки, Хората-котки, La marca de la pantera, Kočičí lidé, キャット・ピープル, La dona pantera, Kissaihmiset
I wasn't prepared for how sad this film would be.
The world still ignores women's pain until they fear it. We still aren't believed, even when we want to talk about it, to our loved ones, to our doctors. It's hysteria. We're too sensitive. It makes us angry, and righteously so, but we learn to denounce that rage and cage it up, keep it confined to the shadows.
Irena just wants to belong. She wants to have a normal, happy life, but she struggles with something inside of her that she can't control. Cat People lives in a space of psychosexual terror, where the fantastical is explicitly stated and everyday despair is only a suggestion, but it's the tiptoeing whispers…
90
A 73 minute psychodrama of sexual repression and dormant generational trauma, all while casually being one of the greatest black and white films in cinema history. In re-watching this, it isn't merely the 'bus' and 'swimming pool' moments that linger - it's the economy of the dialogue, and just how Jacques Tourneur plays with DP Nicholas Musuraca's shadows. The catharsis merely felt, but never seen, is so tangibly constructed via Tourneur's implication of terror.
“what does one tell a husband? one tells him nothing.”
every other movie from the 40s:
woman: *acts slightly out of the ordinary*
the men in the movie immediately: she should be COMMITTED
this movie:
woman: i think i’m a cat and if i kiss my husband i’m afraid i will eat him alive
the men in the movie including her psychiatrist after months of therapy: if you don’t stop acting so goddamn quirky we’re gonna have to put you away you silly girl
It was probably so easy to be a psychiatrist in the forties. Just slick your hair down so hard that it reveals the shape of your skull, light a cigarette, and ignore your patients as they patiently and rationally lay out their struggles so you can try to sleep with them. Gotta be one of the lowest effort rackets ever developed and this is coming from a podcaster/cartoonist.
Boy meets girl, boy marries girl, girl accidentally turns into a bloodthirsty panther.
Spoilers ahead.
Cat People is a quietly devastating look at one woman's life, and the impact social pressures and expectations have on her ability to live freely, told through the vehicle of horror. Irena Dubrovna (Simone Simon) is deeply alone, telling Oliver Reed (Kent Smith) on the very day they meet that he's her "first real friend." (Her word choice is terribly touching, suggesting a hopeful optimism that "only friend" would not have conveyed.) It's hard to tell if Irena truly feels lonely (later, she says that she "loves silence and loneliness"), or if she simply plays the role of a lonely woman because it's what society has taught her is expected from a girl who is single and lives…
My love for this film is infinite, because it so precisely understands the unconscious ways that women who are different are made to feel inferior in comparison to others. The real bitch of it though is that every woman is made to feel different in one way or another.
TW: mentions of sexual assault and suicide
Cat People, on this rewatch, really felt like a completely different movie to me. I noticed a lot about it I didn't on that first go. I was reminded of Frankenstein because while the monster at first appears to be the non-human creature (the Cat Person) in reality the monster is societal pressure around sex and Oliver. Dr. Louis Judd is the second monster of the piece representing how male doctors gaslight their female patients. Both the sexual pressure and gaslighting elements of the story harken back to two of the oldest anti-feminist pieces of rhetoric: women should be sexually available but if they are either too available or not available enough then…