Ben Bard, Chef Milani, Erford Gage

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68% liked it

957 ratings

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90% liked it

10 critics

Unrated, 1 hr. 11 min.

Directed by: Mark Robson

Release Date: August 21, 1943

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DVD Release Date: October 4, 2005

Stats: 99 reviews

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Flixster Reviews (99)


  • October 1, 2009
    This is a dark physiological thriller ahead of its time. Underline message; Sometimes it?s better to be dead! God bless you Val Lewton! This is a film not to be missed! The scene with the chair and the noose is as chilling as anything in contemporary film. As with all Lewton film...( read more)s, it?s what you don't see that scares you!
  • December 28, 2008
    A young girl searches New York for her elder sister, who has fallen in with a group of devil-worshippers. This isn't top-notch Val Lewton but it's still pretty great. I think there are more scenes and more characters than the typically slender running time can adequately sustain....( read more) Consequently, although there are some lovely atmospheric touches, they tend to be rather fleeting; I would have liked to have savoured them a little while longer. The softly spoken intimidation of Kim Hunter in the shower is wonderfully sinister, in its own quiet way every bit as good as Hitchcock's famous and flashy shower scene in Psycho. A very sweet Kim Hunter makes her screen début and Jean Brooks sports one of the most striking hairstyles in B-movie history. Due in no small part to the wistful presence of Brooks, The Seventh Victim is a strange, surprisingly depressing little movie; probably not a good one to watch if you're feeling down in the dumps.
  • August 28, 2008
    Although most of the themes are left to imagination, as usual in any Val Lewton horror production, I surrender to the moody atmosphere director Mark Robson sets up. This was indeed a film ahead of its time, in its depiction of devil worshipers not as strange entities or mad caric...( read more)atures, but as any rather normal person with desires of success. Two horror masterpieces came to my mind while watching this, Psycho and Rosemary's baby, both surprisingly melded in an excellent shower scene, in which the shadow of a lady with a hat looks very much like a horned satanic figure.
  • August 5, 2008
    An interesting blend of noir and horror. The wonderful use of shadows certainly enhance the horror scenes, particularly a creepy shower scene that obviously influenced Psycho. The satanic stuff might have also influenced Rosemary's Baby. I don't really care for the film's message...( read more) it's not really explored enough to be interesting.
  • August 2, 2008
    The very last of the Val Lewton/RKO horror cycle--not chronologically, but the last for me to see--and one paired, on DVD, with a documentary on Val Lewton instead of another one of his movies (a rather interesting documentary with horror experts of the non-fiction writing kind a...( read more)nd the more modern director and writer kind--Romero, Dante, del Toro, Matheson, Ramsey Campbell, Harlan Ellison, Gaiman...). We see the return of Tom Conway, not only to a Val Lewton film, but in fact, as the same character--psychiatrist Dr. Louis Judd, from Cat People.

    Mary Gibson (Kim Hunter) is a young woman studying at a private school, pulled into the administrator's office to be informed that her sister, who has been paying for her tuition, has disappeared--and tuition has not been paid for the past six months. She's sent away to try and find her sister, Jacqueline (Jean Brooks), chasing her to her cosmetics factory, restaurants, rented rooms and names she is given, never seeming to get anywhere near her sister. Jason Hoag (Erford Gage) is a failed writer, who suggests the missing persons department of the police. After giving her report there, she is given the advice of checking the morgue by excitable private eye Irving August (Lou Lubin), where she is given the name Gregory Ward (Hugh Beaumont--yes, later Ward Cleaver, and just as whitebread), only to discover this man is Jacqueline's husband. They find themselves ensnared in a rather noir-esque web of the satan-worshipping (!) Palladists and the varying pasts and knowledge of the people who've interacted with Jacqueline.

    As is often the case with Lewton films, I'm stunned to look down at the runtime for the first time and find only fifteen minutes has passed--not because I feel it's been dragging, but because so much has happened in what is normally a sixth or an eight of a movie, but is nearly a quarter of it here. It's this rapid pace that I think helps Lewton's films so very much, keeping it up and preventing any dead space or drag from ever occurring. Similarly, they bear an honesty about them--even in flawed performances (dear me, the Italian restaurant owner...), we can see a strange honesty to them. It struck me that this is the most important thing in any film to my eyes, or even any writing--that it does not overreach its grasp. Certainly it can fail to reach it, and it can aim quite high, but when it's clear that the overriding elements do not congeal, the grasp was more than any person in the production had (barring, I suppose with a nod to Mr. Ellison, the original writer). A weak performance, or a collection of them, or effects that do not come together, can all be saved by an overall understanding that someone involved in the production had a very clear idea that they tried to put together and knew the right elements for, limited only by weaknesses along the way in other people. When a movie, a novel, anything does not attempt to be anything more than it is--which is not to say a horror film, for interest, must remain a horror film and nothing more, or anything else so limiting--or anything, more importantly, more than the folks in control of it can indeed manage. This is what Val Lewton brought to all of his films--a vision that he understood himself. The actors were not always up to the task, though they usually were (and exceptions were typically quite small roles), and certainly the budget limited many elements, and studio interference could cause issues, but Lewton clearly knew how to get the films he built and allegedly screen-wrote all of.

    Alas, this is not one I can stand fully behind. There's a hideously corny scene where Conway confronts the Satanist Palladists and cows them with the most absurdly obvious thing in the world--The Lord's Prayer. Really now. They'd never heard it before? That really made them doubt themselves? Please. Give me a break here. Beyond that, there were a greater number of weak roles--Beaumont is, as I say, rather whitebread. There's a romance that blooms inexplicably between him and Mary, perhaps just to satisfy the studio's hunger for wide audiences ("Something for the women!"), but it comes off as ridiculous. It was peculiar to see Dr. Judd again, considering his previous role, though nice to see him a little less sleazy--and it definitely set my reference and intersection-loving heart a-fluttter. But for once Lewton did not perfectly insert the "supernatural" element this time (though as always it was not terribly supernatural)--Satanists? Perhaps I couldn't swallow it simply because of that absurd final appearance they make. Still, Jacqueline's chase scene near the end is excellent, the light-swallowing noir shadows the fill the film are beautiful and Jacqueline's final fate is ahead of its time, but it doesn't all quite come together.
  • August 30, 2009
    Very stylish and ahead of its time. Cool mixture of horror and noir. Interesting depiction of devil worshipers as not demons or cartoonish crazies- but as selfish and bad people but ones that could be your co-workers or neighbors. Great use of shadow and light.
  • November 25, 2008
    wow what a chiller of a movie...i have just seen this movie 4 the 1st time n think that this is a freaky movie but its really enjoyable as well....its an old Drama, Horror, Classics movie 2 watch but its really freaky as well...its got a really good cast of actors/actressess thro...( read more)ughout this movie its a good Drama, Horror, Classics movie 2 watch because you never know what 2 expect throughout this movie its enjoyable as well n its really freaky
  • November 12, 2008
    Actually, The 7th Victim is pretty similar to Rosemary's Baby, but made 25 years earlier. I must say that this is a terribly underrated early horror classic that is truly scary and suspenseful. Val Lewton really knows what he's doing. One thing that I didn't enjoy was Kim Hunter'...( read more)s acting...but it was her first role.
  • October 28, 2008
    Not unlike most of Val Lewton's stuff, short. 71 minutes, not much in the way of action which is fine, some very creepy moments and themes, but a far cry from, say, Hitchcock (yeah, I know, Master comparisons aren't fair.)

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