Die Nacht des Jägers

This movie could have fallen apart in so many places, crafted as it is from many diverse parts. Expressionism vs. naturalism, fable vs. social commentary, dream vs. reality, convention vs. experiment. Yet somehow these disparate elements not only hold together, they soar together, into film making heights. I'm almost tempted to say miraculously so, because on paper such opposing styles would seem to resist any kind of meaningful synthesis. Yet there it is, on the screen, an almost seamless work of movie-making art. After so many reviews - a testament to Hunter's mesmerizing effect - there is little left to say. Except to observe that if the film's brain is Director Laughton, and its eyes Stanley Cortez, then its heart (which is considerable) comes from screen writer James Agee. Literary conscience of the Great Depression, Agee makes of this modern day fairy tale a moving tribute to children of all times who have had to struggle against forces so much bigger and more knowing than themselves. Cast adrift in an alien world, they can only hope for the best, which amounts to trusting in the presence somewhere of a benevolent force to protect them. John and Pearl are lucky. Other children as Agee well knew are not so lucky. In an odd way, this is a conscionable movie about spiritual compassion that Hollywood too often turned into emotional mush, but not here. Too bad this neglected masterpiece was not so recognized during Laughton's lifetime.

It's a shame Charle Laughton, the distinguished actor, didn't direct more films. As he clearly indicates with "The Night of the Hunter", he had a rare gift for guiding a production into achieving greatness. This film, which didn't receive the attention it got when it was released, has turned out to be something discerning movie fans saw from the start, a classic.

Charles Laughton was basically a man of the theater, then came the movies, but he was at heart someone who was equally at ease working on the stage, or performing in front of a camera. Mr. Laughton undertook to direct this screen play written by another distinguished American writer and critic, James Agee, based on the David Grubb's novel.

The result is a magnificent film about to what extreme a man will go in order to steal from two young and innocent children something their father had left for them in trust. The evil character of Harry Powell, a charlatan preacher taking advantage of poor and unsophisticated country folk, is one of the best creations in the novel. Harry Powell doesn't care what he must do to get his hands in the money. He marries the children's mother, a widow who was hoping for some happiness in her life, only as part of his overall scheme of things.

The film is a poetic account of the story with great emphasis on the kindness the children receive at the end from Rachel Cooper, a woman with a heart of gold who took John and Pearl into her home when they needed it.

Robert Mitchum is the evil Harry Powell. It's without a doubt, one of Mr. Mitchum's best screen work. As guided by the director, the actor gives a performance that still surprises whoever watches the film for the first time. Shelley Winters plays Willa, the widow who can't sense the danger connected to the man she marries. Lillian Gish is another luminous presence in the film because she projects no-nonsense kindness and sweetness toward the children she takes into her home.

The film also is enhanced by the brilliant black and white cinematography by Stanley Carter. The film still shows a pristine look fifty years after it was released. Also, the musical score of Walter Shumann adds another layer in the film's texture.

"The Night of the Hunter" is ultimately a work of art that moves the viewer because of the tremendous work its director, Charles Laughton, gave to the movie.

Charles Laughton had only one choice to pay the role of psycho-reverend- conman for his adaption of Night of the Hunter and it was Robert Mitchum. When he's on the screen Mitchum fills it with malevolence.

It's an unusual part for Mitchum. Usually he's terse and laconic in films, but as Harry Powell he's just full of words. Of course he doesn't mean anything he says, but he's just a fountain of speech in Night of the Hunter. Mitchum as he did later on in Thunder Road drew from his hobohemian background of the open road to get his characterization of the Reverend Harry Powell.

Powell who marries and murders women after robbing them blind has more than 25 to his credit in the backwoods of the Ohio river country in West Virginia and Kentucky during the Depression years. But he gets arrested for stealing a car and gets 30 days in jail. Mitchum gets thrown in the same cell as Peter Graves who robbed a bank and killed two people. Graves before he's caught gave the loot to his son Billy Chapin with a promise not even to tell their mother because she's not too swift. How right he's proved to be.

After Graves is hung, Mitchum finishes his sentence with the intention of wooing and marrying widow Shelley Winters. She falls for his line as does her little girl Sally Jane Bruce. But young Billy spots Mitchum for a phony from the gitgo.

The children are in for a lot of heartbreak and tragedy before the film concludes. One of the things I like best about Night is the Hunter is the way Laughton graphically demonstrates the life and poverty of rural America during the Depression. The film is all seen through the eyes of the children as they begin their Huck Finn like odyssey down the Ohio river, escaping from Mitchum.

According to Lee Server's biography of Mitchum, Laughton while great with the adults had no patience at all with the kids. After a while he let Mitchum actually direct Chapin and Bruce in their scenes.

Lillian Gish gives one of her great performances in the sound era of her career as the farm woman who eventually takes in the kids as she does for a few others. She's there to be a contrast to Mitchum. Her actions speak her faith a lot louder than Mitchum's phony ramblings.

Another role I like in this is that of Evelyn Varden. She and husband Don Beddoe employ Shelley Winters at their drug store and she's all full of concern in a showy pharisee like way for the kids. She's totally taken with Mitchum, but when he's unmasked as a phony her rage is something to see on screen.

Sad that Charles Laughton didn't do more behind the camera than this one film. He and Robert Mitchum formed a mutual admiration society that lasted until Laughton passed on inn 1962.

Still Night of the Hunter is a testament to that mutual admiration.

You can run, but you can't hide, from a wolf in a sheep's hide, when he senses he can take, and he's happy to forsake, gets a paw inside to prise, no one to hear your frightened cries, as you're taken to a place, and hunted down without much grace.

Seldom will you encounter such a soulless character as Harry Powell through such an outstanding performance by Robert Mitchum. I remember watching this as a child and being quite disturbed by how nasty people can be. I've watched it several times since and the most recent viewing left me thinking I'd just watched a promotion for a church or some such religious organisation, so intense was the in your face piety of the dialogue and direction - which didn't enhance the experience if I'm honest.

'The Night Of The Hunter' is recognized by most critics and hard core film buffs as one of the most extraordinary movies ever made, but sadly it's still frequently overlooked by the many movie fans, probably because it's so difficult to categorize. Yes, it's a thriller but it's also a child's nightmare. A Noir but also a fable. Robert Mitchum gives one of his very best performances as Harry Powell, the charming but evil preacher with "love" tattooed on one hand, "hate" on the other. Powell is one of the most memorable screen villains of all time, and 'The Night Of The Hunter' is worth watching just for Mitchum, who is mesmerizing. Shelley Winters is surprisingly effective as the widow Powell woos, Peter Graves has a small role at the beginning as her first husband, and Lillian Gish plays the saintly Ms. Cooper, guardian of unwanted children. Because this movie isn't set in isn't the "real world" many viewers don't know exactly how to react to it. Charles Laughton's small town America is a stylized, dreamlike place, in some ways not unlike David Lynch's twisted world depicted in 'Blue Velvet' and 'Twin Peaks'. It also reminds me of Flannery O'Connor's Gothic South in her classic novels 'Wise Blood' and 'The Violent Bear It Away'. Some of the scenes involving Powell menacing Winters' children deliberately invoke James Whale's 'Frankenstein', and the sequence depicting the children's journey down the river is charming but blatantly artificial. While I'm a big fan of "outsider" film makers like Russ Meyer, Coffin Joe and Alejandro Jodorowsky, I also greatly admire those who work within the system but still manage to subvert Hollywood with doses of surrealism. I'm thinking of movies such as 'Kiss Me Deadly', 'Shock Corridor' and 'The Manchurian Candidate'. Each of these films are unique but they also remind me of each other and of 'The Night Of The Hunter'. I highly recommend them all and wish that there were a lot more movies like them today. 'The Night Of The Hunter' is essential viewing for anybody interested in American movies!