The Leopard Man

Posted on October 26th, 2011 in 1940s, Jacques Tourneur by Colin

Poster

Seeing as Halloween is only a matter of days away I thought I’d feature something with a seasonal flavour to mark the occasion. A casual glance would suggest that The Leopard Man (1943) ought to be a slice of classic horror. Bearing in mind the title, and the fact it was produced by Val Lewton and directed by Jacques Tourneur, one might expect to get another anthropomorphic chiller along the lines of Cat People. However, it’s the source material, a story by Cornell Woolrich, that dictates the kind of movie that’s ultimately delivered. Woolrich wasn’t a horror writer, though his darkly fatalistic tales do border on the macabre at times, instead he concentrated on bleak and pessimistic crime stories. So, the combination of director, producer and writer here results in a moody crime picture that bears the trappings, atmosphere and feel of a horror movie.

This compact thriller takes place in a border town in New Mexico and, like a good deal of Woolrich’s material, sees a tragic train of events set in motion by a foolish mishap. In this case the event in question is brought about when a night club performer, Kiki (Jean Brooks), goes along with the suggestion of her manager/publicist, Jerry Manning (Dennis O’Keefe), that she should make a dramatic entrance with a black leopard on a leash. The idea is to draw the spotlight and simultaneously upstage her rival, flamenco dancer Clo-Clo (Margo). Not a bad plan, as far as it goes. The trouble arises when Clo-Clo, in a fit of pique, startles the beast with the clacking of her castanets, causing it to bolt and and slip away into the shadowy streets of the town. This leads to one of the most celebrated sequences in producer Lewton’s movies. A young girl, a bit of a dreamer and slacker if the truth be known, is sent on a shopping errand by an impatient and exasperated mother. The girl tries to beg off, citing her fear of the wild animal roaming the surrounding countryside, but the mother is having none of it. To her, her daughter has too fanciful an imagination and too little sense of responsibility. The girl’s trip to the only store open at such a late hour, and more especially the return, is an exercise in how to draw tension tight through the use of suggestion and shadowy visuals. What makes this succeed is the fact that the growing panic and dread of the girl match perfectly what the viewers feel as we accompany her on her journey. The tragic outcome, playing on the old fable of the boy who cried wolf, is all the more effective as a result of our experiencing the same emotions as the girl. Suddenly, this sleepy backwater is transformed into a community stalked by fear and suspicion as the apparent victims of the escaped cat start to mount up. As I said in the introduction, this is not a real horror movie in the true sense of the word. There is nothing of the supernatural involved, unless you count Isabel Jewell’s gypsy fortune teller, yet the sense of menace is palpable throughout.

Suspicion and threatening shadows - Jean Brooks in The Leopard Man.

In all honesty, the plot of The Leopard Man is fairly unremarkable, and the mystery story it’s built around isn’t so difficult to figure out. The strength of the movie derives from the mood evoked by the tale, and maybe more importantly, the way Lewton and director Jacques Tourneur go about presenting it. What they put on screen is every bit as morbid as the best of Poe. Lewton and Tourneur’s shadowy, expressionistic style play a significant part in creating the sense of doom and fatalism that seems to dog the characters. The flamenco dancer played by Margo is superficially in love with life, and her jaunty sashaying through the town streets, castanets always at the ready, appears to reinforce this. Yet, her thoughts are never far from darker matters, borne out by her near obsessive need to consult the fortune teller at every opportunity, despite the latter’s repeated discovery of death in the cards. Aside from the sequence with the girl on her late night errand that I already referred to, there are two other especially noteworthy passages. The first involves a lovelorn girl who visits a cemetary on her birthday to keep a date with her beau. Surely it’s only in a Lewton film where two youthful lovers would think it appropriate to pick a graveyard as the backdrop for a romantic assignation. This scene heightens the melancholic, oneiric quality that permeates the movie and comes close to the idea of horror being essentially a fairy tale for adults. The second takes place during the climax, where the real killer is pursued and finally cornered amid the hooded and solemn members of an historical/religious procession. All of these sequences serve as something of a definition of the characteristics of horror moviemaking. Cinematic horror is not so much about gore or actually scaring the audience - that has a limited, juvenile impact which rarely stands the test of time - as instilling a sense of dread and foreboding. After all, it’s the moody atmospheric stuff that lingers in the memory long after the cheaper shocks have worn off or been superseded by something more daring.

In the US Val Lewton collection form Warners The Leopard Man shares space on a disc with The Ghost Ship. The film has a reasonably good transfer, although there are certainly a number of speckles and scratches on show. The image is acceptably sharp and the contrast is good enough - particularly important in a movie such as this. Extras consist of a commentary by William Friedkin and the theatrical trailer. As I said, this is a crime story - with a noir sensibility, it should be added - dressed up as a horror film. I think it may be this hybrid quality that’s led to it’s being less celebrated than some of Lewton’s (or Tourneur’s for that matter) other pictures. Regardless, it remains a classy chiller that works well on both levels, and is a fine example of how to make a good movie on a shoestring budget.

6 Responses to 'The Leopard Man'

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  1. le0pard13 said,

    on October 27th, 2011 at 4:51 am

    This sounds really interesting, Colin. Your review has convinced me to place this (and its Ghost Ship mate) into my Netflix queue. Fine review. Many thanks.

  2. Livius said,

    on October 27th, 2011 at 7:54 am

    Hope you enjoy it Michael. I don’t know how familiar you are (if at all) with Val Lewton’s movies, but if they’re new to you then I think it’s safe to say there’s a lot of pleasure to be had.
    Lewton, working with Jacques Tourneur, Robert Wise and Mark Robson, really provided the template for subtle and atmospheric horror.

  3. burlivespipe said,

    on October 31st, 2011 at 8:12 am

    I haven’t seen this one yet but you’ve sold me on its merits — i think Tourneur’s usually given too little credit for his noir-ish touch.
    As to Ghost Ship, i was hoping it was a cinematic version of B Traven’s novel only to discover it’s a Mark Robson/Lewton film. Lewton sure had a nice stable of young directors working for him.

  4. Livius said,

    on October 31st, 2011 at 9:46 am

    Lewton gets a lot of credit for squeezing the most out of meagre budgets, and rightly so. But he was also fortunate to have some very talented people, especially directors and cameramen, attached to his unit.

    I think Tourneur was just great. He made some clunkers along the way, but his versatility and stylishness are remarkable.

  5. Dafydd Jones said,

    on November 1st, 2011 at 8:21 pm

    I have only discovered Val Lewton’s films fairly recently. I caught “I Walked With A Zombie” on a T.V. screening last year and was hooked immediately. Then followed the U.S. box set. Every one is a gem – intelligent, well-acted and concise. Also…disturbing, and in a very different way to most ‘horror’ films. I saw “The Leopard Man” a few weeks ago and you’ve captured it very effectively in your review, Colin.
    Sad to say, I think I may have avoided watching Lewton films in the past because of the rather unfortunate and misleading titles (foisted on Lewton by the studio, we are told) of some of them. These are films to cherish.

  6. Livius said,

    on November 1st, 2011 at 10:05 pm

    It’s never too late to discover good stuff though, is it Dafydd? I too believe the Warner US boxset is a little treasure chest, there really isn’t a dud to be found among the films.

    It’s interesting that you should mention the rather lurid titles of the movies, and their initially negative effect on you. I first came upon these movies when I was quite young, mostly via late night double bills on the BBC back in the late 70s and early 80s, and just took the films for what they were - creepy and well crafted horror/thrillers. I do wonder though how many people, especially those not exposed to them so early, may be put off by the sensationalist titles, or at least misled as to their content.

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