fantasy, page 58 of 92

Cat Girl is a UK take on Val Lewton and Jacques Tourneur’s 1942 US film, Cat People, a favourite of mine that I reviewed a little while back. Released in 1957 (the same year as Tourneur’s other well-known horror, Night of the Demon), it’s been put out on DVD as part of Network’s British Film series — coincidentally in the same month as Cat People finally gets a Region 2 release (from Odeon Entertainment). It’s not a film I’d heard of, and I was immediately intrigued.

Newly-married Leonora (Hammer Horror’s Barbara Shelley in her first starring role) is summoned back to the family home by mad old uncle Edmund. She goes reluctantly and, despite her uncle’s stipulations, not alone, bringing her new husband, Richard, as well as his (unknown to her) lover Cathy and Cathy’s hanger-on, Alan. Her uncle has doleful news, but waits till the dead of night before summoning her to his study. (In the meantime, he nips outside to take a bloody bite or two out of a raw rabbit, in the company of a leopard he keeps in a cage.) On the back of the DVD case, Network say Cat Girl is an “updating” of Jacques Tourneur’s earlier film, but already it seems to be taking a step backwards. Cat People was set firmly in the contemporary world, and certainly got some of its power from having the supernatural emerge into a modern reality at utter odds to the fantastic. But here we’re in full old-fashioned Gothic mode, complete with blustery thunderstorm, old dark house, mad uncle poring over piles of ancient books, foreign-accented retainer with a limp, flickering candles, billowing curtains, long, frilly nighties, and a 700-year-old family curse.

The curse is Uncle Edmund’s news. He is about to die (as predicted in one of his musty old books), and Leonora, as the only remaining member of the Brandt family, will take on the curse. It’s lycanthropy, but with a twist: instead of turning into a wolf (or, in this case, a leopard — though the film posters mostly feature a panther), at night Leonora’s soul will enter that of the leopard Uncle Edmund keeps in a cage in his study. It will be “the servant of your mind, the strength of your body”, and she’ll feel its “love of darkness, the craving for warm flesh and blood”. His message delivered, Uncle Edmund then goes out into the blustery dark to become the leopard’s next victim, and the curse is passed on. The following day, an already slightly unbalanced Leonora enacts her first lycanthropic revenge: finding her husband and Cathy canoodling in a copse, she sets the leopard on them. Cathy escapes, Richard doesn’t.

Cat Girl then leaves the gothic for something a bit more modern. It’s already been established that Leonora’s real love is for a former crush, now a Harley Street psychiatrist, Dr Brian Marlowe. He, however, is married (to Dorothy — the psychiatrist’s wife’s Dotty!), but, in the usual tradition of silver screen headshrinks (none of whom seem to have any sense of ethics), elects to treat the increasingly besotted/deranged Leonora himself. In what is, perhaps, the film’s most chilling sequence, Leonora books herself into Marlow’s institute, only to find herself being rendered increasingly powerless. Her belongings are taken off her, her room has bars on the window, and glimpses of her fellow inmates confirm that this is, despite Dr Marlow’s assurances, an asylum for the fully insane. Then night falls, and she goes properly bonkers — or, rather, goes into full mind-meld with her leopard, and is left convinced, the next day, that her hands have been turned into claws and her face is that of a hideous predator. Her descent into a cat-like frenzy, tearing at her bedsheets, her clothes, and her own skin, is a moment of genuine horror — though it’s not the sort Cat Girl is ultimately aiming for. Because, after this, Leonora shifts from the film’s heroine to its monster.

Not quite as useless as Cat People’s lecherous Dr Judd, Dr Marlowe still believes he has the situation under control. So under control, in fact, that after this one night of madness, he decides this obviously dangerous and self-harming woman will recover better in the company of normal people — of his wife, in fact, despite Leonora’s clear hostility to Dorothy. (Dorothy, meanwhile, produces a string of cat-related double entendres whenever talking of, or to, Leonora. My favourite: “Be a pet and zip me up.”) Dorothy at least has the sense to start feeling creeped out when, having left Leonora alone with her budgie for a moment, she comes back to find nothing in the cage but feathers.

Cat Girl has neither the brooding, pressure-cooker feel of Cat People, nor its sense of tragedy (Irena’s scrabbling for normality, then her resigned and finally gleeful backslide into lycanthropy, are so much more sustained than Leonora’s madness), but it does provide some new variants on the same situation. The most interesting aspect is Barbara Shelley’s passage from helpless gothic heroine, through to a more modern gothic victimhood (trapped in an asylum, teetering on the verge of madness), then to an increasingly torrid darkness, ending the film as a psycho-killer in a black mac, almost as if you can see horror cinema in the process of sloughing off the skin of its own Gothic past. Unlike Cat People (which has two distinctly tense horror scenes in a tightly orchestrated plot), Cat Girl has only one real build-up of tension, at the end, as Leonora stalks her love-rival through the night streets of London. The moment she slips out of her shoes to better pad after her prey you know the game is really on — though, by this time, the film is almost over.

An interesting add-on to Cat People, then — and a film that’s left me wondering, what other good British horror films were there in the 1950s?

For some months, now, I’ve been reading a tale a day from Jack Zipes’ translation of the Grimm Brothers’ fairy tales, only having known the more famous ones till now. And they’re a mixed bunch. As well as the very fairy-tale-like stories of princes transformed into foxes or frogs, brothers turned into swans, princesses setting three impossible tasks for their suitors, or that overlooked third brother winning through despite everyone thinking he’s a clod, there are plenty of duds: shaggy-dog jokes about stupid people (“Clever Hans”, “Clever Else”, “The Brave Little Tailor”) or the (once, no doubt very funny, not-so now) misadventures of odd collections of companions (“The Straw, the Coal and the Bean”, “The Mouse, the Bird and the Sausage”), as well as some of the more traditional kind of tale that don’t quite satisfy as much as the well-known ones do.

Reading these lesser tales, where the shortcomings of the story are often made up for by an appeal to the listeners’ baser nature, you get a sense of their pulpy, lowest-common-denominator approach: silly jokes about talking sausages and stupid people on the one hand, lashings of revenge on the other. It’s not saying anything new to note how gleeful fairy tales can be in not just righting wrongs, but in getting a downright over-the-top bloody revenge into the bargain:

“The evil mother was brought before the court and put into a barrel that was filled with boiling oil and poisonous snakes. Indeed, she died a horrible death.”

or,

“‘The scoundrel deserves nothing better than to be put into a barrel studded with nails on the inside,’ said the old woman. ‘And then he should be rolled down the hill into the water.’”

or,

“‘She deserves nothing better… than to be stripped completely naked and put inside a barrel studded with sharp nails. Then two white horses should be harnessed to the barrel and made to drag her through the streets until she’s dead.’”

…being just three examples. Cinderella may win your sympathy by being forced to drudge for her nasty step-sisters, but some fairy tale heroes and heroines have very little going for them, morally or empathetically, yet the stories only work if you’re rooting for them to lord it over everyone by the end — and not just their oppressors, but often their oppressor’s entirely innocent children, too.

The Cold Flame, published in 1967, is James Reeves’ retelling of “The Blue Light” from the Grimms’ book of fairy tales — certainly not one of the more famous ones, but not entirely a dud, either. The protagonist is (unusually, for these mostly coming-of-age tales) a long-serving soldier, dismissed after twenty-five years in the King’s service (“Five-and-twenty years, five-and-twenty wounds”) with only a silver dollar in pay. He falls into the hands of a witch, who makes him drudge for a couple of days, then sends him down a well to fetch a cold, blue, obviously magical light she dropped there. He refuses to hand it over till she’s helped him from the well, so she lets him fall back down to the bottom. Deciding to smoke one final time before he dies of starvation, the soldier lights his pipe with the blue light and thereby summons a little demon, who offers to do anything he demands. And so the soldier gets out of the well, is provided with riches, returns to the city where he was dismissed so off-handedly, and sets about getting his revenge by summoning the King’s daughter each night to clean up his room. He’s caught (on the third night, of course) and arrested, but thanks to his little demon turns the situation round, and by the end is not only king himself but getting inviting looks from the princess.

Perhaps it’s because the main character isn’t such an innocent as Cinderella or Snow White, but although the wrong to him is genuine (dismissed after twenty-five years with only enough pay to buy a single meal), having the tale expanded from short story to short novel only seems to emphasise how unfair it is that the king’s daughter — entirely innocent, as far as I can see — should be dragged into her father’s punishment. It seems even stranger in Reeves’ retelling, because he makes it clear that, for some reason, after being forced to drudge for him, she’s fallen in love with this raddled old soldier, whose only redeeming feature (as in so many fairy tales) is the fact he’s had the good luck to gain magical aid. But perhaps it’s just that, by being faithful to the rather uncompromising spirit of the Grimms’ version, Reeves has retained the essential character of the original, without pandering to any sensitive morals on my part. Anyway, it’s very well-written, if a bit distant from its rather bleak-souled characters. (The soldier is described as having an “almost habitual sardonic self-control”, and a “dedication to the virtue of despair.”)

One of the things that attracted me to the book wasn’t the story, but the illustrations. I think I must have come across Charles Keeping’s work first in Alan Garner’s Elidor. He mixes a sparse, telling line with a sort of random, squiggly-blotchy wildness that somehow works, and somehow fits these late 1960s/early 1970s books with their rather modernistic bleakness and understated, though deeply-felt, deeply-tried humanity — Reeves’, and Garner’s, and, I think, they’d suit the two William Mayne books I’ve reviewed recently, too.

Here are some examples of his work on The Cold Flame:

I was intrigued to find that, aside from Stephen King’s, there’s another book called IT, this one by William Mayne, published in 1977. I was even more intrigued by the plot: Eleven-year-old Alice Dyson, looking at her home town from a distance, spies a hill she didn’t know existed, and resolves to explore it. At the top she finds an ancient, faintly-carved stone, similar in shape and design to three crosses that mark the boundaries of the town (and of which her grandfather, a vicar who has written a local history, believes there to have once been a fourth). Digging idly in the mud beneath it, Alice finds a dark hole. She puts her hand in — and feels another hand grasp it. When she withdraws her hand, she still feels the presence of that other hand; hers is “still haunted by what had held it”.

Alice gets on with her everyday life. She’s a bit of a trial to her family, the sort of child who’s always doing the wrong thing. Her grandfather, a bit of an authority-figure in the family, in particular finds her wanting (“she was always a miserable milk-and-water miss, with the milk curdled and the water tepid,” he says). But this is not as bleak a book as the Mayne novel I reviewed last time, A Game of Dark — Alice herself has a lightness and humour that prevent these family tensions from building up to anything like the awful alienation that exists between Donald and his parents in that book.

Alice learns of a possible explanation for the ghostly hand:

“…a witch, or sorceress… had taken refuge in the town and then come into the Market Place and made terrible frightening threats against the town. Before she had finished them a retribution had come upon her and she had fallen down dead, some said struck by God, and others by the Devil, stabbed with an invisible knife in full daylight in front of a crowd of people.”

Returning to the hill, Alice pokes about in the darkness with a piece of rusty metal she finds nearby. Suddenly, she feels she has stabbed something, and the ghostly hand leaves hers. She, then, is the cause of that “invisible knife”. But her troubles are not over. She has attracted another presence. This is not the witch, but the witch’s familiar, a poltergeist-like spirit keen to attach itself to Alice as it once did to the witch. It starts providing Alice with rings that are meant to bind them together — often as not lifted from other people. Alice, quite sensibly, hands them into the police. The spirit starts trying to follow what it assumes are Alice’s wishes — she wins a game of monopoly with every dice roll landing in her favour; a friend who throws a snowball at her gets showered in the snow from a nearby window ledge; when Alice gets angry, the spirit starts to break things.

What stops William Mayne’s IT from being a horror novel is that Alice isn’t isolated by her strange experiences. In fact, several adults, including her grandfather, a local bishop, and her mother, all accept what’s going on. As her mother says:

“Don’t forget that I was… in New Guinea… I was your age at the time, and I was older, and we’re both quite familiar with wandering spirits that attach themselves to people for a time, so at least we knew what was going on. Believe me, we met far worse ones than yours. But of course out there it was much easier to talk about things like that.”

Perhaps it was because I was expecting IT to be more of a horror novel that I found it slightly unsatisfying at the end. Although the effects of the ghostly hand and the later familiar spirit can be quite spooky (whenever Alice approaches a church, she’s enveloped in her own little storm, as “IT” tries to prevent her from entering the holy place, which it can’t follow her into), Alice herself isn’t overly spooked, and instead, feeling sorry for this childlike spirit that’s attached itself to her, tries to find a way to free it, and her, from an unwanted bondage. She realises a ritual has to be carried out involving the four crosses that once surrounded the town. Usefully, there’s an annual parade that, if Alice can persuade the committee, could have its route changed so as to provide the sort of magical act required. She does this in a series of quick-cut brief scenes that bring a comic feel to the story. But Mayne’s skill at characterisation, and Alice’s constant little difficulties with people, particularly her family, prevent it from being the sort of E Nesbit lark-with-magic that might make it sound like.

IT passes through spooky territory, then, but never becomes a horror novel. Nowhere near as bleak as A Game of Dark, neither is it as powerful, though it has its moments. What lingers, rather than the sort of trials Donald Jackson went through in that earlier book, is the light touch and resilience of Alice’s character, and the way her determination to see this strange experience through, in her own way, finally wins round her previously disapproving grandfather, and the town as a whole.