I contemplate myself something of a Val Lewton devotee as I’ve seen all his films dozens of times and I suspect I’ve read honest about every book and article that’s ever been published on the colossal producer. I was very angry to learn last year that Martin Scorsese (of all people!) was producing a documentary on Lewton smart the quality and passion he would bring to the project. Well, I watched it last night and I’m tickled to say I wasn’t disappointed. This is a very loving and informed documentary that is as intriguing to peek as it is captivating to hear. Credit must be shared between Scorsese (the producer and narrator) and the real writer and director of the film, Kent Jones, who covers Lewton’s life and all his films while at the same time uncovering many facts and photos that I’ve not encountered before. This is not a talking head documentary and all comments are kept brief and were obviously carefully selected as each comment is substantive and specific. Scorsese is the very passionate narrator and you know while he may not have written his text, he obviously agrees with every word. My only complaint about this documentary is that it’s too short – at least for me. I credit Jones and Scorsese for keeping things gripping but I wish there had been time for more commentary on some of Lewton’s lesser known films. The fact that “Youth Runs Wild” and “Mademoiselle Fifi” are mentioned at all is further tribute to Jones’s and Scorsese’s devotion to the topic. Special attention is given to those films that I suspect are particular favorites of Jones and Scorsese including my celebrated, “Curse of the Cat People”. How amazing that they were able to track down Ann Carter Newton and how amazingly youthful she smooth looks. Again, I wish there had been more of her commentary provided. So, it’s positive I’m very fervent about this film and I recommend it wholeheartedly to anyone alive to in Lewton or American cinema during the war years. Those who already have the Warner’s Val Lewton area can acquire this documentary separately while others can take it included with the dwelling of nine Lewton scare films, which also contains a very resplendent documentary that is more of the talking-head variety but well done nevertheless. One final comment on the Lewton films themselves – if the DVD transfers traditional in the box place are any indication to go by, several of the films appear to be in desperate need of restoration. I hope Warners can be persuaded to restore these films and then release them on Blue-Ray discs. I’d catch the residence all over again if it meant getting higher quality copies. Who wouldn’t?

This is a delicate production covering Val Lewton’s life and career as a producer through a fantastic selection of stills and film scenes. This same DVD can also be purchased with a newly reissued version of last year’s box region, the plan being that the Scorsese name might have some additional sales appeal.

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Scorsese, always keenly aware of the immigrant experience, leads the viewer support into Lewton’s beginnings in Russia, on the sunny seaside resort town of Yalta on the Crimea. A magnificent mother, disturbed by an impossible marriage, takes the coarse step of leaving the country with her two children. Eventually they emigrate to the United States, where their unusual name, Leventon, is altered to Lewton. Related to the wonderful and world distinguished American movie star, Nazimova, (Lewton’s aunt) Lewton’s boyhood world was largely dominated by strong, improbable women. This background is nicely discussed through narration and aloof films, with a few snippets of Nazimova’s mute hide work.

Unfortunately, no film exits of Lewton, and stills are frail throughout the 87 miniature documentary to engage Lewton himself. Following his early years distinguished of the discussion focuses on apprentice years as a writer and novelist – he wrote a best-seller – before finding his correct metier as producer. There is a short cursory discussion of his work as a novelist -Lewton’s pulp work then leading into his extended mentoring under the aegis of none other than Hollywood’s sizable independent producer, David O. Selznick. Lewton during this period learns his craft, and this part of his career is well-presented during the documentary, with script examples and film scenes, such as from a Legend of Two Cities. (Not shown is that film’s genuine ending shot, conceived by Lewton.) We learn that it was Lewton who came up with the unforgettable scene residence at the Atlanta Depot, where Scarlet tries to give comfort to the wounded as she wanders through the thousands of Confederate soldiers all the while the camera is pulling abet further and further to indicate the scale of the tragedy. The documentary notes how Lewton, who worked on the script for “Gone With the Wind”, (and who didn’t? ) never imagined Selznick would shoot such an clarify and frightfully expensive scene.

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At this point the account moves to Lewton’s titanic chance, his job offer with RKO to lead and manufacture a series of low-budget alarm films. We get out that rather than getting aroused at Lewton, Selznick went to bat for him and acted as agent! Complex person, David O. Selznick.

The remainder of the DVD is given over to a chronological overview of Lewton’s career as producer. Here the Lewton produced films fade center stage, with many short scenes and a few stills detailing each film. RKO’s savage rejection of Orson Welles comes up, for the mountainous staircase from “The Glowing Ambersons” appears in Lewton’s first film for RKO, “The Cat People.” Lewton’s emphasis on blocking out of shots before shooting is discussed, along with his utilize of the best talents he could call up from his days with Selznick. This long meat of the documentary, the coverage of the enormous films, is smoothly intercut with cogent observations, taken from archives, by Tourneur, the director on Lewton’s first three films. Other contemporary commentary is included from original filmakers, writers, and actors who worked with Lewton, such as the young girl now grown up who starred in “The Curse of the Cat People”. Lewton’s son also makes several pertinent observations along the diagram. Overall this part does a very effective job, particularly in showcasing Lewton’s trustworthy evocation of mood, the incredible ability to effect moments of sudden cinematic ephiphany, and his insistence on lustrous, fresh scripts in difference to the schlock turned out by Universal’s Terror team.

The conclusion briefly sums up Lewton’s tragic ruin.

This documentary can be watched by anyone who has seen the films. If you have not seen the films, or most of them, it might be best to perceive the movies first.

DON’T FORGET: This DVD documentary now is attached to the Val Lewton box region and is a freebie when you bewitch this latest release of the box situation.

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