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“Death is good” is how producer Val Lewton summarized the message of his films, a credo that received its most explicit expression in this strikingly nihilistic shocker, the first film directed by regular Lewton editor Mark Robson. Kim Hunter makes her film debut as a young boarding-school student who, in search of her missing sister (proto-goth icon Jean Brooks), travels to New York’s bohemian Greenwich Village, where she uncovers a sinister shadow world of devil worshippers and murder. And what about that mysterious room furnished with nothing but a chair and a hangman’s noose? With its daring treatment of depression and queerness, The Seventh Victim has haunted the margins of cinema for decades, its radical bleakness undiminished by time. (Criterion)

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kaylin 

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English A beautiful example that atmospheric horrors were being made at a time when most of us were still quite young. This is a great film, especially in terms of its atmosphere. It's an excellent demonstration of playing with light and dark, but above all, with a compelling story. You don't see this so much these days either. Hardly at all, actually. ()

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