IMDb RATING
6.7/10
7.7K
YOUR RATING
A woman in search of her missing sister uncovers a Satanic cult in New York's Greenwich Village and finds that they could have something to do with her sibling's random disappearance.A woman in search of her missing sister uncovers a Satanic cult in New York's Greenwich Village and finds that they could have something to do with her sibling's random disappearance.A woman in search of her missing sister uncovers a Satanic cult in New York's Greenwich Village and finds that they could have something to do with her sibling's random disappearance.
- Awards
- 3 nominations
Joan Barclay
- Gladys
- (uncredited)
Patti Brill
- Minor Role
- (uncredited)
Wally Brown
- Durk
- (uncredited)
Feodor Chaliapin Jr.
- Leo
- (uncredited)
Wheaton Chambers
- Missing Girl's Father
- (uncredited)
James Conaty
- Party Guest
- (uncredited)
Edith Conrad
- Minor Role
- (uncredited)
Kernan Cripps
- Police Officer Danny
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaErford Gage, who played the poet Jason Hoag, enlisted in the U.S. Army in August 1943 (around the time this film was released) and was killed in action in the Phillipines in March 1945.
- GoofsThe opening text reads: "I run from death, and death meets me as fast, And all my pleasures are like yesterday." The movie attributes the quote to John Donne's Holy Sonnet #7. But it is actually from Holy Sonnet #1.
- Crazy credits[title after starting credits] I runne to death, and death meets me as fast, and all my pleasures are like yesterday. Holy sonnet #VII Jonne Donne
- Alternate versionsExists in a computer-colorized version
- ConnectionsFeatured in Aweful Movies with Deadly Earnest: The Seventh Victim (1967)
- SoundtracksMay Heaven Forgive You
(uncredited)
From "Martha"
Music by Friedrich von Flotow
Arranged by Roy Webb
[The tune playing on the barrel organ as Mary goes to the Dante for the first time]
Featured review
If I prefer to believe in satanic majesty and power, who can deny me?
The Seventh Victim is directed by Mark Robson and written by DeWitt Bodeen and Charles O'Neal. It stars Tom Conway, Jean Brooks, Isabel Jewell and Kim Hunter. Music is scored by Roy Webb and cinematography by Nicholas Musuraca.
When she is told her older sister Jacqueline has vanished, Mary Gibson is forced to leave her private school and travel to New York City to hopefully find her. Obtaining help from her sister's husband, Gregory, and the suspicious help of psychiatrist, Dr. Louis Judd, Mary finds that the deeper she goes the more dangerous the situation becomes, it appears that Jacqueline has got herself involved with something very sinister indeed.
He calleth all his children by their name.
Coming as it does from producer Val Lewton, one shouldn't be surprised that The Seventh Victim is a hauntingly poetic creeper of a movie, no shocks or out and out horror here, just a genuine sense of dread and a pervading sense of doom. When delving a bit further into the making of the picture it becomes apparent that an original cut of the piece was considerably longer, this explains a lot to me as the film, as good as it is in its 71 minute form, is not fully formed and at times not the easiest to fully understand. It would seem that although originally intended as a longer mainstream picture, a difference of opinion between Lewton and the studio (thought to be about the hiring of first time director Mark Robson) meant it was cut to a B movie standard.
The Palladists.
What remains, though, isn't at all bad, in fact it's unique. Robson's direction (obviously guided by Lewton) is perfectly sedate and in keeping with the mood of the piece, and between them they have conjured up some most unforgettable scenes and imagery. One particular shower scene lingers long after the credits roll, the perfect use of a silhouette probably had a certain Alfred Hitchcock taking notes, whilst the ending is quite simply a piece of bleak and unforgettable cinema. Musuraca is the key ingredient, though, the ace cinematographer is all about the shadows, blending noir with Gothic to create atmospheric paranoia. Satanism in Greenwich Village, suicide, psychological discord and urban dread, all potent little threads dangled into the slow burn pot. But ultimately it's the mood of the picture that gets you, unease and the murky mystery ensuring you are hooked throughout. 7.5/10
When she is told her older sister Jacqueline has vanished, Mary Gibson is forced to leave her private school and travel to New York City to hopefully find her. Obtaining help from her sister's husband, Gregory, and the suspicious help of psychiatrist, Dr. Louis Judd, Mary finds that the deeper she goes the more dangerous the situation becomes, it appears that Jacqueline has got herself involved with something very sinister indeed.
He calleth all his children by their name.
Coming as it does from producer Val Lewton, one shouldn't be surprised that The Seventh Victim is a hauntingly poetic creeper of a movie, no shocks or out and out horror here, just a genuine sense of dread and a pervading sense of doom. When delving a bit further into the making of the picture it becomes apparent that an original cut of the piece was considerably longer, this explains a lot to me as the film, as good as it is in its 71 minute form, is not fully formed and at times not the easiest to fully understand. It would seem that although originally intended as a longer mainstream picture, a difference of opinion between Lewton and the studio (thought to be about the hiring of first time director Mark Robson) meant it was cut to a B movie standard.
The Palladists.
What remains, though, isn't at all bad, in fact it's unique. Robson's direction (obviously guided by Lewton) is perfectly sedate and in keeping with the mood of the piece, and between them they have conjured up some most unforgettable scenes and imagery. One particular shower scene lingers long after the credits roll, the perfect use of a silhouette probably had a certain Alfred Hitchcock taking notes, whilst the ending is quite simply a piece of bleak and unforgettable cinema. Musuraca is the key ingredient, though, the ace cinematographer is all about the shadows, blending noir with Gothic to create atmospheric paranoia. Satanism in Greenwich Village, suicide, psychological discord and urban dread, all potent little threads dangled into the slow burn pot. But ultimately it's the mood of the picture that gets you, unease and the murky mystery ensuring you are hooked throughout. 7.5/10
helpful•239
- hitchcockthelegend
- Dec 2, 2008
Details
- Release date
- Country of origin
- Languages
- Also known as
- The 7th Victim
- Filming locations
- Production company
- See more company credits at IMDbPro
- Runtime1 hour 11 minutes
- Color
- Aspect ratio
- 1.37 : 1
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