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.
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.
9 thoughts on “The Leopard Man”
I happened to be reading a book recently that included comments by Jacques Tourneur in relation to ” The Leopard Man”, that I thought you may be interested to read.
He said that he “didn’t like, “The Leopard Man”, as ” It was too exotic, it was neither fish nor fowl: a series of vignettes, and it didn’t hold together”. Tourneur continued, “…there were too many bad scenes….the overall effect was spotty, uneven.”
I find it interesting to contrast, (what I believe to be), his over critical feelings about the film with the various complimentary comments from audiences and reviewers such as yourself who respect “The Leopard Man” for what it is “a classy chiller”. I certainly agree with your remarks regarding “cinematic horror”, and feel that many of today’s directors would do well to follow Tourneur’s example.
Hi Rod. Thanks for passing on those comments by Tourneur. I feel he was being excessively harsh there too, but I’ll concede that there are moments that lend a slightly uneven quality to the movie. I think that the “neither fish nor fowl” aspect is one of its strengths and works very much in its favour. While it’s not a horror movie in the traditional sense, it’s far more horrific and effective than many a straight genre offering.
Nice bit, Colin. I think you rolled out the story etc very well. The first time I saw this I wrote it off as a misfire, but changed that opinion on further viewings.
There is an episode of GENERAL ELECTRIC THEATER that all fans of Tourneur should hunt up. It is a top flight bit of television noir from 1955 called, “Into The Night” It has Eddie Albert, Robert Armstrong, Ruth Roman and Dane Clark in the cast. I have it on disc but I seem to recall seeing it on You-Tube a while back. I have a 2008 review up on IMDB. This is really an exceptional bit of tv.
Yes, the film does grow on you, I feel.
Thanks for mentioning that GE episode, and it is up on YouTube:
Give it a look and tell me what you think.
Just watched it, Gord, and enjoyed it very much. Excellent work especially from Clark and Roman, and Tourneur really made the best possible use of the limited settings. Thanks a lot again for pointing that one out.
There are several Tourneur helmed episodes of THE BARBARA STANWYCK SHOW that are well worth looking up. “Confession” “The Choice” and “Frightened Girl” stand out. The first guests Lee Marvin, the second, Robert Horton and the last Wallace Ford. All are noir and are on the DVD sets put out 5-6 years ago. Reviews up for all on IMDB
Yes, I have those DVDs packed away somewhere – nice looking from what I recall from a brief check at the time – but I never got round to watching them all through. That seemed to be a pretty good series all told.
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