Quite surprisingly, The Seventh Victim–in addition to being a disquieting, subtle thriller–is mostly about urban apathy and discontent. Though there aren’t any establishing shots of New York City (or of the small New England town protagonist Kim Hunter comes from), Robson and writers Charles O’Neal and DeWitt Bodeen are quite clear about it. There’s no a single happy character–or moment–in the picture.
It should be depressing, but the suspense in the main story–Hunter is trying to find her sister, Jean Brooks, who has disappeared–distracts. And I suppose if one wasn’t so engrossed with that plot, he or she could still keep up hope for some kind of nicety. Even O’Neal and Bodeen have a scene with a comment on positivity… the characters are clearly defeated, even if they are earnest.
Victim‘s narrative structure is also strange. The third act switches protagonists (though Hunter had been slowly giving way to admirer Erford Gage) and the filmmakers decide to go out on a high point instead of a narratively satisfying one. It just adds to the disquiet.
Robson’s direction is outstanding. He isn’t just able to handle the budget, he’s also able to capture all this muted sorrow in his actors. I don’t think Hunter has one intense moment–no screaming, no crying–but she’s constantly full of emotion. Gage, playing a pretentious poet, is fantastic. Hugh Beaumont is sturdy support and Tom Conway does a great job in a difficult role.
It’s an exceptional film.
CREDITS
Directed by Mark Robson; written by Charles O’Neal and DeWitt Bodeen; director of photography, Nicholas Musuraca; edited by John Lockert; music by Roy Webb; produced by Val Lewton; released by RKO Radio Pictures.
Starring Kim Hunter (Mary Gibson), Hugh Beaumont (Gregory Ward), Erford Gage (Jason Hoag), Tom Conway (Dr. Louis Judd), Jean Brooks (Jacqueline Gibson), Mary Newton (Esther Redi), Lou Lubin (Irving August), Marguerita Sylva (Mrs. Bella Romari) and Ben Bard (Mr. Brun).
