Begin ‘The Bagheeta’: Val Lewton’s fantasy/ reality world of Curse of The Cat People: fearing the female/feline monster and the engendering child. Part I

This post continues from Part 1 at the link above!

And now, Part II

FANTASY as REALITY, REALTY as FANTASY – From page 112, Chapter 7, J.P Telotte Dreams of Darkness

The Curse of the Cat People (1944)

The child per se makes us uneasy, ambivalent ; we are anxious about the human propensities concentrated by the child symbol. It evokes too much of what has been left out or is unknown, becoming easily associated with the primitive, mad and mystical. – James Hillman ” Abandoning the Child” in Loose Ends.

To continue with this blog post about one of Lewton’s very precious stories, less dark than his others, and dealing with childhood, the fears of and by children.

All of Lewton’s works dealt with subject matters that forced us to push the boundaries of ‘the familiar.’ They challenged us to face a darker, more mysterious reality of the natural world and the incomprehensible landscape of the human psyche.

Curse of the Cat People (1944) acts as a cinematic continuum to Lewton’s Cat People 1942, featuring Simone Simon once again as the alluring and sensual Irena Dubrovna Reed, who may or may not have belonged to a race of beings that could shapeshift into the physical form of a large cat or black panther when sexually aroused.

The symbol of Irena synthesized the fear of women’s sexuality, sexual freedom, the women’s body, and often the correlation that is made with women’s emotional existence and madness. What is engendered in Cat People (1942) is far less about a woman who can morph into a predatory feline and more about the collective fear of ‘The Monstrous Feminine.’

While Amy is not Irena’s biological daughter, Amy is truly more of a progeny to Irena and the mystique she embodies because they are both alienated figures who are frustrated and misunderstood. Who stand outside the social community which is pumped from the veins of ‘rational’, normative thoughts and behaviors. Amy is the figure of ‘The Fearing Child,’ an innocent who not only has ‘power’ but can wreak havoc in our ‘normal’ world.

Both characters are imaginative and rely on their senses. They are more connected to the natural world, to the darkness, which is associated with feminine energy, and less intellectual, which is considered a masculine marker. They are considered emotional, irrational, and dangerously unpredictable. The character of Oliver Reed is just as frightened and, moreover, threatened by his six-year-old little girl as he was of his beautiful and tragic wife Irena, who was more a victim than ever, the ‘monster’ she was perceived to be.

In Cat People, Curse of the Cat People, I Walked With A Zombie, The Leopard Man, The 7th Victim, and Isle of The Dead, there aren’t concrete Monsters as in Universal films, as in Frankenstein’s creation, Dracula, or The Wolf Man.

RKO studio heads had a mistrust of Lewton’s creative vision, his unconventional approach to some esoteric subject matter, or volatile subjects such as a woman’s sexual desires. Lewton, rather than using literal lumbering, fanged, or hairy monsters, used the powers of suggestion and shadow to tell the story.

Lewton disliked mask-like faces that were hardly human, the kinds of images that were expected from the horror genre he was infiltrating. Lewton liked to reveal the monsters that were lurking in the subconscious primitive recesses of our own imaginations. Shadows become the monster in these films, they are the mysterious layer that surfaces in world that only makes sense in the light of day. And Amy draws the shadows to her…

They do not have scary faces, they are quite human and in fact ordinary. He takes the ‘familiar’ and inverts it, subverts it, rattles the soundness of an accepted experience, and turns it into either an illusion, a nightmare, or a fit of paranoia. He taps into our childhood fears and sets those fears on the frightened characters in his shadow plays. Usually, the thing they fear is uprooting their own personal desires and the fear of coming face to face with them.

Oliver couldn’t handle Irena’s sexual desires, nor her desirability; it triggered too much of his own primal urges, and so he demonized her, a fragile girl in a foreign country who believed in folklore from her very ancient set of beliefs handed down for centuries.

A story which quite often itself was ambiguous as to whether the threat was real or imagined. RKO wanted to be in competition with Universal, so they added footage of a menacing Panther, which was inserted into several scenes of Cat People.

Continue reading “Val Lewton’s Curse of The Cat People (1944) “God should use a Rose Amber Spot!” Seeing the darkness thru the ‘Fearing Child’ and ‘The Monstrous Feminine’ Part II” →