Back The Seventh Victim AN দ্য সেভেন্থ ভিক্টিম Bengali/Bangla La séptima víctima Spanish هفتمین قربانی Persian Seitsemäs uhri Finnish La Septième Victime (film, 1943) French The Seventh Victim ID La settima vittima Italian 일곱 번째 희생자 Korean The Seventh Victim Dutch

The Seventh Victim

This article is about the 1943 horror film. For the science fiction short story by Robert Sheckley, see Seventh Victim. For the West German film, see The Seventh Victim (1964 film).

The Seventh Victim
Theatrical release poster by William Rose
Directed byMark Robson
Written by
Produced byVal Lewton
Starring
CinematographyNicholas Musuraca
Edited byJohn Lockert
Music byRoy Webb
Distributed byRKO Radio Pictures
Release date
  • August 21, 1943 (1943-08-21)
Running time
71 minutes[1][2]
LanguageEnglish
Budget$100,000 (est.)[3]

The Seventh Victim is a 1943 American horror film directed by Mark Robson and starring Tom Conway, Jean Brooks, Isabel Jewell, and Kim Hunter. Written by Charles O'Neal and DeWitt Bodeen, and produced by Val Lewton for RKO Radio Pictures, the film focuses on a young woman who stumbles on an underground cult of devil worshippers in Greenwich Village, New York City, while searching for her missing sister. It marks Robson's directorial debut, and was Hunter's first onscreen role.

O'Neal had written the script as a murder mystery, set in California, that followed a woman hunted by a serial killer. Bodeen revised the script, basing the story on a Satanic society meeting he attended in New York City and setting it as a prequel to Cat People (1942), with Conway reprising his role as Dr. Louis Judd.[4] Filming took place over 24 days in May 1943 at RKO Studios in Los Angeles.

Released on August 21, 1943, the film failed to garner significant income at the box office and received mixed reviews from critics, who found its narrative incoherence a primary fault. It was later revealed that Robson and editor John Lockert had removed four substantial scenes from the final cut, including an extended conclusion. In spite of its mixed reception, it became a cult film in England, noted by critics for its homoerotic undertones.

  1. ^ Pitts 2015, p. 276.
  2. ^ Cite error: The named reference rotten was invoked but never defined (see the help page).
  3. ^ Higham, Charles; Greenberg, Joel (1969). The Celluloid Muse: Hollywood Directors Speak. London: Angus & Robertson. p. 208. ISBN 978-0-207-95123-7.
  4. ^ Mank 1999, pp. 254–255.

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