The Seventh Victim (1943): “And all my pleasures are like yesterdays”

The Seventh Victim (1943)

A young woman travels to New York to find her older sister after she stops paying her tuition fees, and discovers a satanic cult is threatening her sister’s life.
(1943 RKO. A Val Lewton production directed by Mark Robson 71 mins)

Cinematography by Nicholas Musuraca
Story and Screenplay by DeWitt Bodeen and Charles O’Neal
Art Direction by Albert S. D’Agostino and Walter E. Keller
Original Music by Roy Webb

After Cat People (1942), I Walked With a Zombie (1943), and Leopard Man (1943), the head of the low-budget horror production unit at RKO, Val Lewton, could not afford the services of Jacques Tourneur, who had been promoted by RKO to a-production, and he gave Mark Robson, who had edited those earlier movies, hist first directing job with The Seventh Victim, a simply stunning film that out-classes Lewton’s earlier productions.

I cannot express the power of this movie better than Chris Auty from London’s Time Out Film Guide:

What other movie opens with Satanism in Greenwich Village, twists into urban paranoia, and climaxes with a suicide? Val Lewton, Russian emigré workaholic, fantasist, was one of the mavericks of Forties’ Hollywood, a man who produced (never directed) a group of intelligent and offbeat chillers for next-to-nothing at RKO. All bear his personal stamp: dime-store cinema transformed by ‘literary’ scripts, ingenious design, shadowy visuals, brooding melancholy, and a tight rein over the direction. The Seventh Victim is his masterpiece, a brooding melodrama built around a group of Satanists. The bizarre plot involves an orphan (Hunter) searching for her death-crazy sister (Brooks), but also carries a strong lesbian theme, and survives some uneven cameos; the whole thing is held together by a remarkably effective mix of menace and metaphysics – half noir, half Gothic.

The opening frame of the film, a close-up of a stained-glass window in a gothic school building, establishes the mood of foreboding:

The Seventh Victim (1943)

Knowledge of three further lines in Donne’s sonnet enrich our experience of this film:

I run to death, and death meets me as fast,
And all my pleasures are like yesterday;
I dare not move my dim eyes any way,
Despair behind, and death before doth cast
Such terror, and my feebled flesh doth waste

“Despair behind, and death before doth cast”: the specter of existential terror haunts this film, where it is the angst of an empty existence that terrorises – not the super-natural. The noir motif of inescapable doom is developed as strongly if not more so than any other Hollywood film of the period.

Jacqueline Gould, a stunning dark beauty is not comfortable with existence: “I’ve always wanted to die – always.” Life nauseates her and in her desperation joins a Satanic cult, and when she re-cants and seeks to abandon the group, she is marked for death.  But she wants death on her terms, not theirs. She is the classic existential protagonist:

I can’t say I feel relieved or satisfied; just the opposite, I am crushed. Only my goal is reached: I know what I wanted to know; I have understood all that has happened to me… The Nausea has not left me and I don’t believe it will leave me so soon; but I no longer have to bear it, it is no longer an illness or a passing fit: it is I. – Jean Paul Sartre, Nausea (1938).

After a brilliantly filmed chase through dark city streets, Jacqueline escapes an assassin from the cult, and  reaches the tenement building where she is staying with her sister. She trudges wearily up to to the fist landing, then meets Mimi, an ill young woman, who lives in an apartment next to an empty apartment that Jacqueline has rented but never lived in, in which resides a terrible secret. The scene is strongly evoked by the very literate script:


Jacqueline, still running, comes into the scene and goes up the steps. She opens the front door and lets herself in.


The gas light has been turned down so that there is only a tiny flame to illuminate the hall. The draft in the hallway stirs this little flame and the shadows move with it. Jacqueline comes up the stairs. Now that she can be seen more closely, it can be seen also that she is exhausted, her eyes wild, her hair in disorder. She almost staggers as she reaches the landing and goes slowly supporting herself on the banisters, toward Mary’s door. Her way brings her past Room #7, the room with the noose. For a moment she stands weakly staring at the door, then goes on. She has reached Mary’s room, has crossed the narrow hallway and her hand is almost on the knob when Mimi’s door opens and Mimi, white night-gowned, comes out into the eerie gas light. Jacqueline looks at her face which is distorted and horrible in the moving shadows and flickering light. She stifles a scream. The other girl is also frightened. The two stand staring at each other for a moment.

JACQUELINE: (weakly) Who are you?

MIMI: I’m Mimi — I’m dying.


MIMI: Yes. It’s been quiet, oh ever so quiet. I hardly move, yet it keeps coming all the time – closer and closer. I rest and rest and yet I am dying.

JACQUELINE: And you don’t want to die. I’ve always wanted to die – always.

MIMI: I’m afraid.

Jacqueline shakes her head.

MIMI (CONT’D): I’m tired of being afraid – of waiting.


MIMI: (with sudden determination) I’m not going to wait. I’m going out – laugh, dance – do all the things I used to do.


MIMI: I don’t know.

JACQUELINE: (very softly end almost with envy) You will die.

But Mimi has already turned back into her room. Jacqueline stands watching until the light snaps on in Mimi’s room and then the door closing, plunges the hall into weird half light again. In this semi-darkness, she turns away from Mary’s door and walks down the hall toward room #7. She opens the door and goes in.

This slide-show attests to the cinematic mastery of a film that displays the brilliant gestalt achieved by a team of talented film-makers:

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15 thoughts on “The Seventh Victim (1943): “And all my pleasures are like yesterdays””

  1. Wow Tony, you have really hit a home run with this review of what is arguably the greatest of the low-budget Lewton thrillers. For me I WALKED WITH A ZOMBIE may edge it out narrowly, but they are in the same sphere of excellence. DeWitt Bowdeen and Charles O’Neal’s screenplay is unquestionably the best-written for any Lewton film by a distance (remember ZOMBIE was purely a visual poem) The TIME OUT excerpt is excellent and I might add that there is a magisterial treatment of the film on pages 120 through 128 in the ultimate scholarly work on Lewton: Joel E. Siegel’s VAL LEWTON; THE REALITY OF TERROR. Siegel states: “In all of his best work, one that finds Lewton embracing dark, negating forces–suicide, diabolism, witchcraft. THE SEVENTH VICTIM is his most forthright negation, a film in which existence is portrayed as a hellish void from which all souls yearn for the sweet release of death.
    The reference to Donne is absolutely brilliant, and I would also add Tennyson, whose morbidity in several works seem as central as the element is in much of Lewton. But the film absolutely is a study in paranoia, an dthis is far more central than any literal transcription of witchcraft.

    THE SEVENTH VICTIM is a claustrophobic film, that never fails to enagage the intellect and the emotions. The review here gives it full justice.


  2. And I failed to mention what a great slide-slow of the film appears at the end. That is worth the access in and of itself apart from the great review!


  3. Wasn’t familiar with this one, but the association with Donne et al. is provocative and fascinating. I’ll be sure to check it out. Many thanks.


  4. Hi! Sam Juliano,
    I guess you win! 🙂 …after checking out a couple of books (“Icon of Grief” and “Fearing the Dark”) about producer Val Lewton, I decided that I don’t want to be the “lone voice” in the wind any longer!…Now the question is…Will the “The Val Lewton Horror Collection” make it way into my shopping cart this Christmas? I would have to say yes, there is a possibility that the “The Val Lewton Horror Collection” will be added to my X~mas list.

    dcd 😉


  5. thanks Tony–both for your interest in my piece, and for putting this entry together last year–the Sartre is very useful (as are the subsequent lines in the Donne quotation–existentialism far predates the 20th century!)


  6. ..Hello..!, I’m curious, would you know why the “stained glass window” reads “..Holy Sonnet vii..”, when these lines are from Donne’s “Holy Sonnet #1”..?? Thanks..!!


  7. The event I don’t understand is why the Palladists dragged the corpse of the detective into the exact subway car Mary was sitting in. For what reason would they pretend a bloody murder victim was a drunken friend and risk arrest. And how could they know what train Mary was on? It’s an excellent Twilight Zone moment but makes no sense.


      1. That’s one of the supernatural /paranormal spins in the story even though it’s not a supernatural story in total.


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