It is true to say that of all the common genres of film we know as standard, horror was not a large field in the 1940s. Much of what we now appreciate as horror did however set its roots in film noir. The psychopath is a character straight out of film noir ― or at least he made his first major appearances there.
The dark settings however, with fog, basements, gothic buildings and terrorised women ― are similarly found in the 1940s in the film noir style.
While The Seventh Victim may be a psychological chiller and mystery movie, it does contain horror elements which directly precede many classic tropes, such as the urban coven ― for which of course see Rosemary's Baby (1968).![]() |
Female seeker hero in The Seventh Victim (1943) |
In the world portrayed by the cinema in 1943, there many not have been the variety of horror genres we now enjoy, but there was a fast flowing and dark stream of film noir. Within this stream flowed currents of psychology and mystery, with double identity and the search for missing relatives, friends and spouses being a common plot and theme.
Although The Seventh Victim is not explicitly what used to be called 'a woman's picture', its characters and stories are female. The first and most obvious element is that all of the characters displayed in the first ten minutes of the film ― are all women. This is probably unique.
There are two further female film noir tropes that are touched upon here ― being the wifelet seeker hero ― and the paranoid woman.
In the case of the first of these, The Seventh Victim does boast a female seeker hero as its central character ― she is however searching for her sister and not for her husband, as is more normally the case in film noir. In the case of the second of these, it is probably not entirely fair to describe Mary Gibson (played by Kim Hunter) ― as a paranoid woman.
There is certainly paranoia in The Seventh Victim, and it is most chillingly and brilliantly expressed in a conversation that takes place between the hero and her nemesis, through the medium of a shower curtain.
There is however no paranoia in the sense that Mary, when looking for her sister, is being driven mad by wicked forces, obliging her to question her sanity. She does remain sane however, considering the evil forces she uncovers, and she does force bravely on to the end of the mystery, more of an agent in the unfolding, rather than a victim of the controlling circumstances that she faces.
This was Kim Hunter's first film role, although her career was long and super illustrious. Consider that this modest actor went on to play the chimpanzee Zira in Planet of the Apes (1968), and its sequels Beneath the Planet of the Apes (1970) and Escape from the Planet of the Apes (1971).
She was also blacklisted by HUAC in the 1950s, on suspicion of suffering from the fatal virus known as 'communism'. She had a major early starring role in the 1946 British film A Matter of Life and Death. In 1947; she was Stella Kowalski on stage in the original Broadway production of A Streetcar Named Desire; and recreating that role in the 1951 film version, she won both the Academy and Golden Globe awards for Best Supporting Actress.
In the interim, in 1948, Kim Hunter had already joined with Streetcar co-stars Marlon Brando, Karl Malden, and 47 others, to become one of the first members accepted by the newly created Actors Studio; and in 1952, Hunter became Humphrey Bogart's leading lady in Deadline USA.
"Her life is the very nightmare version of life that Val Lewton portrays in many of his movies: a meaningless existence, trying to find meaning, always failing and in the end seeking a sort of peace through death."
"The Seventh Victim explores certain ineffable fears that always haunt the human psyche, especially a fear of meaninglessness or the irrational which can make death seem almost a welcome release from life."
Jean Brooks in The Seventh Victim (1943)
"While very little in the way of horrific action takes place in The Seventh Victim, the film has a haunting, lyrical, overwhelming sense of melancholy and despair to it—death is looked upon as a sweet release from the oppression of a cold, meaningless existence."
"The Seventh Victim invokes the analogy in ways more sympathetic to homosexuality. While it could have easily fallen into the trap of using gay and lesbian signifiers to characterize its villains (i.e. homosexual = Satanist, as did Universal's The Black Cat in 1934), the film is much more complex than that."
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Shock discovery in Greenwich Village! Kim Hunter in The Seventh Victim (1943) |
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Vacuum Cleaners in film noir The Seventh Victim (1943) |
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Prototype Psycho 'shower scene' in The Seventh Victim (1943) |
- Cat People (1942)
- I Walked with a Zombie (1943)
- The Leopard Man (1943)
- The Seventh Victim (1943)
- The Ghost Ship (1943)
- The Curse of the Cat People (1944)
- Mademoiselle Fifi (1944)
- Youth Runs Wild (1944)
- The Body Snatcher (1945)
- Isle of the Dead (1945)
- Bedlam (1946)
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Contemplation of eternity in The Seventh Victim (1947) |
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Only in film noir - assault in the dark - Jean Brooks in The Seventh Victim (1943) |