Cat People (1982)
July 14th 2008 02:02
I have a soft furry spot for this movie, despite its inherent flaws and trappings. It’s a rare beast, a remake that actually takes the thematic brilliance of the svelte original film and takes it to a more explicit and heightened level. Cat People (1982) is essentially a tale of carnal mythology and dangerous desires; it’s about the animal in us all.
One of Jerry Bruckheimer’s early movies as executive producer, and certainly the “high concept” factors are in play, but the movie is very much director Paul Schrader’s vision, utilising ex-special make-up effects designer-cum-writer Alan Ormsby’s provocative screenplay. It’s an under-rated movie, very different from the original, but with enough merits to stand and stalk on its own four feet despite not performing well at the box office when it was first released and despite years of being trashed.
Irena (Nastassja Kinski) arrives in New Orleans to meet with her older brother Paul (Malcolm McDowell). Paul lives alone in a terrace he shares with Female (Ruby Dee) who is the housekeeper. She’s of old New Orleans voodoo stock, but welcomes Irena with open arms, happy that Paul is finally able to be reunited with his sister.
But there is something strange and different about Paul. He is one of the cat people; a supernatural race of creatures that turn into black panthers when they are sexually aroused, and must kill to change back into human form. To prevent this xenomorphic trait from occurring they can only mate with each other.
Irena is ignorant of her ancestry having been raised by adoptive parents, but Paul soon reveals the truth, as he is eager for Irena to be his mate. Paul lives by day as a human, but by night he feeds off hookers, having sex, then changing and killing, and then changing back. But on Irena’s first night in New Orleans Paul inadvertently gets trapped in a dingy hotel room in panther guise and is netted by the local zoo curator Oliver (John Heard) and his assistants Alice (Annette O’Toole) and Joe (Ed Begley Jr.).
Irena is befriended by Oliver after he discovers her sketching the aggravated panther in its cage after-hours (one of only a few scenes lifted from the original movie). He’s immediately attracted to her, and it seems she to him. He finds her a job in the zoo gift shop, much to Alice’s jealousy.
Soon enough Paul escapes, but not until he kills (in a scene which freaked me out when I first saw the movie twenty-odd years ago). Oliver eventually cottons on to the whole mythology and realises what has to be done, in one of Hollywood’s rarer moments of sexual bondage.
Paul Schrader’s Cat People is very much a movie of sound and vision. From the stunning opening scenes set on the stylized landscape that is home to the cat people; red desert sands, gnarled trees, tribal living amidst the skeletal bones of victims. The dream sequences are excellent, especially the intense “night rabbit” hunting sequence, and the superbly atmospheric stalking scene in the inside swimming pool (the one whole scene straight from the original). The other brief moment from the original is when an old worlde cat-like stranger (Neva Gage) “recognizes” Irena in a bar and whispers “My Sister” (in Serbian).
Kinski and McDowell fit their roles perfectly, both of them charismatic, yet strangely goofy-looking, animal-like, sensual, otherworldly. Kinski had been shedding her clothes since she was sixteen (To The Devil a Daughter), so she was happy to pad around full-frontal in Cat People showing off her lithe, feline, yet muscular body; she almost seems androgynous, just as McDowell has an androgyny to his appearance too.
Georgio Moroder’s lush, distinctly 80s, yet sublimely timeless electronic score is one of the movie’s highlights, from the dreamy opening variation on the main theme to the freaky nature of the hunting night sounds to the re-occurring classic chords and lilting melody of Irena’s Theme. It’s definitely one of my favourite movie soundtracks, with of course the pop-friendly main theme sung by David Bowie (“See these eyes so green, I could stare for a thousand years/Just be still with me, you wouldn’t believe what I’ve been through/It’s been so long, it’s been so long …”)
The movie’s pacing is a little off though. The romance between Oliver and Irena is important, but it causes the film to sag in the middle (mind you if we didn’t have the fishing scene we wouldn’t have got to enjoy Nastassja walking and bending over in tiny shorts and long rubber boots; one of cinema’s unsung moments of unexpected eroticism). Curiously director Schrader and Kinski had an affair during shooting but coked-addled Schrader became obsessed and Kinski fled back to Europe after shooting wrapped. Schrader was beside himself and threatened to insert graphic “pussy” shots of Kinski into the movie (as if there isn’t enough of Kinski’s body on show already). This tarnished Schrader badly and he didn’t work in Hollywood for a decade.
It’s saddening seeing the archaic real New Orleans zoo and the size of the cages, to think animals were kept this way for so long. But the claustrophobic containment fits with the movie’s ancient concepts of possession and freedom, slaves to the rhythm of beastly desire. How they got the panthers so riled up is questionable, but the genuine animal rage is undeniably effective.
In the original Cat People Irena can’t even kiss her husband for fear of what she may become. In the remake the sexual element is brought to the fore, and its passionate abandon is played upon feverishly. Where the original relies on shadows and suggestion, the atmosphere of otherworldliness and the corruption of innocence handled with great finesse by director Tourneur, in the remake the emphasis is more on what is shown, with the atmosphere and mood this time being dictated by production design, sound and music … and warm flesh.
The special effects make-up effects created by Tom Burman are very good, especially the dismemberment, but handled with restrained skill in the transformation sequences (sensational feline contact lenses!).
Schrader’s Cat People should be viewed as a re-envisioning, not a remake. Both movies are very effective, but separate creatures. It features arguably one of McDowell’s best performances. While Kinski delivers initial awkwardness which gives way to a powerful sense of confidence and, ultimately, a tragic desperation. Perhaps I’m putting this pussy a little high on the pedestal, but Cat People is a tragic tale of desire in the guise of an erotic nightmare.
Here's the original trailer:
Here's Irena changing into a panther:
One of Jerry Bruckheimer’s early movies as executive producer, and certainly the “high concept” factors are in play, but the movie is very much director Paul Schrader’s vision, utilising ex-special make-up effects designer-cum-writer Alan Ormsby’s provocative screenplay. It’s an under-rated movie, very different from the original, but with enough merits to stand and stalk on its own four feet despite not performing well at the box office when it was first released and despite years of being trashed.
Irena (Nastassja Kinski) arrives in New Orleans to meet with her older brother Paul (Malcolm McDowell). Paul lives alone in a terrace he shares with Female (Ruby Dee) who is the housekeeper. She’s of old New Orleans voodoo stock, but welcomes Irena with open arms, happy that Paul is finally able to be reunited with his sister.
But there is something strange and different about Paul. He is one of the cat people; a supernatural race of creatures that turn into black panthers when they are sexually aroused, and must kill to change back into human form. To prevent this xenomorphic trait from occurring they can only mate with each other.
Irena is ignorant of her ancestry having been raised by adoptive parents, but Paul soon reveals the truth, as he is eager for Irena to be his mate. Paul lives by day as a human, but by night he feeds off hookers, having sex, then changing and killing, and then changing back. But on Irena’s first night in New Orleans Paul inadvertently gets trapped in a dingy hotel room in panther guise and is netted by the local zoo curator Oliver (John Heard) and his assistants Alice (Annette O’Toole) and Joe (Ed Begley Jr.).
Irena is befriended by Oliver after he discovers her sketching the aggravated panther in its cage after-hours (one of only a few scenes lifted from the original movie). He’s immediately attracted to her, and it seems she to him. He finds her a job in the zoo gift shop, much to Alice’s jealousy.
Soon enough Paul escapes, but not until he kills (in a scene which freaked me out when I first saw the movie twenty-odd years ago). Oliver eventually cottons on to the whole mythology and realises what has to be done, in one of Hollywood’s rarer moments of sexual bondage.
Paul Schrader’s Cat People is very much a movie of sound and vision. From the stunning opening scenes set on the stylized landscape that is home to the cat people; red desert sands, gnarled trees, tribal living amidst the skeletal bones of victims. The dream sequences are excellent, especially the intense “night rabbit” hunting sequence, and the superbly atmospheric stalking scene in the inside swimming pool (the one whole scene straight from the original). The other brief moment from the original is when an old worlde cat-like stranger (Neva Gage) “recognizes” Irena in a bar and whispers “My Sister” (in Serbian).
Kinski and McDowell fit their roles perfectly, both of them charismatic, yet strangely goofy-looking, animal-like, sensual, otherworldly. Kinski had been shedding her clothes since she was sixteen (To The Devil a Daughter), so she was happy to pad around full-frontal in Cat People showing off her lithe, feline, yet muscular body; she almost seems androgynous, just as McDowell has an androgyny to his appearance too.
Georgio Moroder’s lush, distinctly 80s, yet sublimely timeless electronic score is one of the movie’s highlights, from the dreamy opening variation on the main theme to the freaky nature of the hunting night sounds to the re-occurring classic chords and lilting melody of Irena’s Theme. It’s definitely one of my favourite movie soundtracks, with of course the pop-friendly main theme sung by David Bowie (“See these eyes so green, I could stare for a thousand years/Just be still with me, you wouldn’t believe what I’ve been through/It’s been so long, it’s been so long …”)
The movie’s pacing is a little off though. The romance between Oliver and Irena is important, but it causes the film to sag in the middle (mind you if we didn’t have the fishing scene we wouldn’t have got to enjoy Nastassja walking and bending over in tiny shorts and long rubber boots; one of cinema’s unsung moments of unexpected eroticism). Curiously director Schrader and Kinski had an affair during shooting but coked-addled Schrader became obsessed and Kinski fled back to Europe after shooting wrapped. Schrader was beside himself and threatened to insert graphic “pussy” shots of Kinski into the movie (as if there isn’t enough of Kinski’s body on show already). This tarnished Schrader badly and he didn’t work in Hollywood for a decade.
It’s saddening seeing the archaic real New Orleans zoo and the size of the cages, to think animals were kept this way for so long. But the claustrophobic containment fits with the movie’s ancient concepts of possession and freedom, slaves to the rhythm of beastly desire. How they got the panthers so riled up is questionable, but the genuine animal rage is undeniably effective.
In the original Cat People Irena can’t even kiss her husband for fear of what she may become. In the remake the sexual element is brought to the fore, and its passionate abandon is played upon feverishly. Where the original relies on shadows and suggestion, the atmosphere of otherworldliness and the corruption of innocence handled with great finesse by director Tourneur, in the remake the emphasis is more on what is shown, with the atmosphere and mood this time being dictated by production design, sound and music … and warm flesh.
The special effects make-up effects created by Tom Burman are very good, especially the dismemberment, but handled with restrained skill in the transformation sequences (sensational feline contact lenses!).
Schrader’s Cat People should be viewed as a re-envisioning, not a remake. Both movies are very effective, but separate creatures. It features arguably one of McDowell’s best performances. While Kinski delivers initial awkwardness which gives way to a powerful sense of confidence and, ultimately, a tragic desperation. Perhaps I’m putting this pussy a little high on the pedestal, but Cat People is a tragic tale of desire in the guise of an erotic nightmare.
Here's the original trailer:
Here's Irena changing into a panther:
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Comment by Damo
For the Sake of Argument
My Apologetics
Comment by Bryn
Horrorphile
Comment by JohnDoe
Film & TV on DVD
Your right in the re-envisioning, how can you compete with the near perfect original?
Comment by Anonymous
Excellent review.
Kemi~
Comment by James Rickard
unlucky_ fishermen.com
Angling Fish
Kind of like Eddie and the Cruisers, some of it lags but there's definitely something there!
I have to agree with the Anon comment, I'll NEVER forget the scene where Ed Begley, Jr. gets this arm torn off. Kept me away from the zoo for a couple of years! *L*
I've seen this AND the original (was it 1942 ). Luckily, by the 80's the eroticism could be explored which almost results in a whole new movie!
Comment by Bryn
Horrorphile
Yes Kemi and James, that arm ripping with the tendons snapping! ARGH! At the time, and to a degree still so, it was so realistic. I think the movie was an R18 in New Zealand when it first came out, possibly because of that sequence, but also the full-frontal nudity and general perversity of the whole incest angle.
JD, yes, guilty pleasure, and one that still pleases more than makes me feel guilty.
Comment by D. Armenta
The Florida Keys and Everglades
The Black Sheep Chronicles
What constitutes bad manners?
The male mystique
Debate Fan
That scene where the hooker is sitting on the bed and feels a cat tail thumping against her foot from under the bed made me sit with my feet tucked under me during the movie, hahaha!!
And O yes, the Bowie song--"I've been putting out fire with gasoline.."
Spot on review as always, Bryn!
Comment by Bryn
Horrorphile
Comment by Wayne F
Bucket Movies
Comment by Bryn
Horrorphile