Un magnifique noir et blanc qui fascine et envoûte pour une histoire trop "incertaine", aux personnages souvent passablement imprécis, certainement à cause de maintes coupes opérées au montage, et dont l'épine dorsale narrative s'étiole au fur et à mesure de l'avancée d'une intrigue quelquefois chancelante... www.cinefiches.com
if a word commonly used to define a duration of a film is "runtime", this film doesn´t run, it flies. it feels like you are somehow behind and must hurry up, which is quite impressive, a "void", the difference of what you see and how fast you process it (it´s even more impressive given the fact it is not an insanely fast film full of crazy action). but you catch it eventually, at the end.
Both depression and dread literally hang over The Seventh Victim, a film that has an incredible grasp of death & loneliness. Nicholas Musaraca's beautiful cinematography exposes the shadowy underbelly of NY. Jean Brooks as the breathtaking & haunted Jacqueline Gibson is perfect. A young woman on the run who is tortured not only by the seedy members of the satanic cult she left, but by herself.
Though I don't love it quite to the level of Eyes Without A Face or The Innocents, I admire it just as much. Much like those two masterpieces, this takes a genre that is so rarely pulled of correctly and brings to a level of maturity and beauty never before thought possible. I can't really think of any film, horror or not, that threats death with such a level of acceptance. DEATH IS GOOD said Val Lewton. It's also OK
Típico producto de serie B, ya desde lo corto de su metraje. Pese o gracias a ello, la película se ve bien y tiene tres o cuatro secuencias (metro; persecución callejera; cierre...) filmadas con brillantez. Con todo, se echa en falta un desarrollo mejor pormenorizado y menos confuso y sobra la ridícula diatriba de los supuestos deístas dirigiéndose a los integrantes de la secta satánica, hacia el final. Nota: 5
Cinematography by Nicholas Musaraca. Reasons to be cheerful: the ambiance and the shadows; the studio more as an imaginary reconstruction than a copy of reality; the dramaturgical inconsistency that gives an incurable freedom; the protagonist shower scene with the appearance of Mrs. Redy as a shadow in the shower curtain, many years before "Psycho" and equally disturbing; the final scene, strangely unexpected
The speed is unusual and disorienting. Every scene in the first half proceeds comprehensibly from the next, but every event feels sudden, almost like a non-sequitur, and it creates a sense of dreamlike dislocation. Which for me lessens as what's going on becomes clearer, though the last shot brings it back. Need to see again.
Too promising an atmosphere, too lovely a photography and scenery! Really disappointing to have it all of it wrapped around a character that doesn't deliver. The idea of the script loses its dynamic once you get the feeling that everyone is pretending their own words.
A suicidal plum wavers in the sutures of sexual courage and the gasps of morality, her "satanic" alignment no more than allegorical shading for the sapphism & self-destruction against which convene a patriarchal triptych: lawyer, poet, psychiatrist: in their attempt to rescue/Emily Post/apron her, she smokes, she broods, she implicitly desires women--she enacts a paradigm of cultural anxiety. She must die.
Feels like its filmed on studio sets yet actually creates a sense of Greenwich Village Bohemia. The nods to the Hayes Code seem charmingly perfunctory. So atmospheric and so strange as to feel oddly modern. Whether intentionally or unintentionally, the story makes little sense but that turns out to be an advantage.