In this sequel to "Cat People" Oliver and Alice, now married, have a young daughter called Amy, an imaginative child (well played by Ann Carter) who seems eerily more like Irena's daughter than Alice's. However, despite a creepy mansion with an eccentric old woman and her possibly murderous daughter, this really isn't a horror movie, not even in the understated sense of "Cat People." It is more of a character study of the sensitive, dreamy Amy and an eloquent plea on behalf of imaginative introverts everywhere. Amy is misunderstood by her devoted, but overly prosaic father—his heavy handed nagging of Amy to abandon her dream world and make real friends recalls his hearty, patronizing dismissal of Irena's legends of the Serbian cat people. Irena herself appears as a sort of guardian spirit to Amy that compensates for her unsympathetic father who grows more impatient and bullying as the film progresses. In fairness to Oliver, he is convinced that Irena's obsession with the cat people drove her insane and he is fearful that his daughter may come to the same fate. But—and this is another major difference from the first film—unlike the cat people legend Amy's runaway imagination is presented as essentially benign, even if it does occasionally led to misunderstandings with other children; in fact, it ultimately saves her from being strangled by old woman's resentful daughter. By the end of the movie, Amy and her father have reconciled, Oliver, if not entirely believing Amy's flights of fancy at least recognizing that he needs to be more of an understanding friend to his daughter.

All in all, a film that is probably particularly resonant with those of us who can recall being told to put the book down and go outside and play with the other kids.

The title is very misleading for this is a film about a little girl's isolation and her need for an imaginary friend. The original "Cat People" picture provides just the backdrop for this moving story about lonely people, both young and old. There is a certain innocence and pathos that works very well alongside competent direction and acting. Definitely not a horror film, this is a gentle fantasy and a very good one at that.

Well I've gotten beyond trying to figure out why this was called "The Curse of the Cat People". It was obviously hitching itself to the star of the original film, with all the principal players back for a second go round. They all retain their original characters, so the continuity of their relationships are maintained and expanded upon, but the picture never goes in the direction of the nuanced horror found in "Cat People". Which is all quite OK, because the picture does a fine job with it's subject. If anything, this movie might be considered more in the realm of fantasy as it explores a young girl's relationship with her distant father, who feels so lost and alone that she must resort to wishing for a friend.

What seems a little disjointed in the story is the character of Barbara Farren (Elizabeth Russell), who in "Cat People" seemed to carry some dreaded curse inside her. Instead of expanding on that mysterious unknown, the story instead takes her in the direction of feeling sorry for herself because of her mother's (Julia Dean) uncaring attitude toward her. Even that plot element is left largely unexplored with the circle never being fully closed by the time the film is over.

Interestingly, the show stealer here is the young actress Ann Carter exhibiting a quiet wisdom beyond her years. Just a few years later, she turned in another stellar performance as the daughter of Humphrey Bogart in "The Two Mrs. Carrolls", with a deft use of language that belied her youth. Both pictures are well recommended for her performance alone.

And then there's Simone Simon. It appears that her life beyond the grave was meant as a redemption of sorts, appearing to Miss Amy in the guise of a guardian angel as well as a friend. I've seen her in only three films (the other was "The Devil and Daniel Webster"), but she seemed to have the same mysterious and luminous quality in each of her performances. I will certainly have to seek out more of her films.

One final observation indicating how much times have changed over the years. With the setting of this story taking place in Sleepy Hollow/Tarrytown, New York. I was reminded of the town's description some ten years later in the classic "On The Waterfront". Today the area is a bustling city, part of the urban sprawl that expanded from the environs of New York City. But a little over a half century ago, it was still a place where the crickets could make Marlon Brando nervous.