The Night of the Hunter

I still hear the lullaby singing sweetly in my head, like a hazy, haunting dream that won't go away.

From the opening scene of the beautiful Lillian Gish and her children, watching over the world in a starry sky, this movie just sinks you into a mesmeric fairy tale land. The camera takes us down in one sweeping move to a scene of children playing, a hot sunny day, and right to the feet of a murder victim. And that sweet music turns on us like a twisted nightmare as the scene chases after a car speeding along a country road to find one of movies worst villains.

Charles Laughton, in sadly his one and only stab at directing, created a masterpiece of horror with Night of the Hunter. The moments of sugar coated sweetness only make this movie even more disturbing as you wonder how the two can inhabit the same world.

Mitchum is terrifying. More-so in a town full of simple folk ready to match him up with the local widow who needs a father for her lit'le n's. Its like he's walked into the middle of a Frank Capra movie and he's going to do what he wants to.

This is not just a great horror movie, but an artist achievement to rival Welles' Kane. The river scene is one of many moments of pure visual splendor. And that sound track just keeps drifting alone, as if trying to coax you into slumber, till the singing madman of your nightmares comes over the hill, relentless. "Chil-dren, Come along now"

You don't watch this movie, it watches you. ...Hush, Lit'le ones, Hush.

'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!

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.

Just before John Harper's father is captured by police, he tells his son where he has hidden the money. While in prison for his crime, he sleep talks and betrays himself to the religiously unhinged Rev Harry Powell. Powell leaves jail with Harper dead in his cell and sets out to infiltrate the family and get the money. However, when he kills John's mother, he and his sister go on the run from him.

One of these `hindsight is 20/20' films that gains a reputation with time, this film deserves the praise in gets in many areas and deserve to be very fondly remembered, or at least a lot more fondly than it was received by critics and audiences of the time. The plot is basic but full of religious imagery that works very well, whether it's Powell's twisted preacher or the runs of scripture that many of the characters cling to. The film presents itself with a very strong tone of foreboding and darkness that makes the material (and characters) feel more dangerous.

Most of the credit for this belongs with Laughton as director, who uses shadow really well and frames the film with clever shots. Some that come to mind is the shadow of Powell on his horse on the horizon, or the woman in the car underwater and so on. It stills feels clever and inventive now so it must have been seen as very different in the fifties. How he didn't win an Oscar, I'm not sure – wonder what else was up in this year.

Mitchum is tremendous in the title role, his role is larger than life and was also slightly playing with fire in it's portrayal as a reverend as corrupt or evil. Chapin is really wonderful as young John and has a much better character than some of the others in the cast. Winters is good in her performance. The only downside of the film is the 10 minutes at the end which feel like they are a happy ending that has just been tacked on and doesn't fit with the tone of the film.

Other than that, this is a very strong film in terms of theme, plot, acting and cinematography. It deserves more than it got at the time and I'm glad that modern audiences are finding this film all the time.

I was lucky enough to see this in a cinema with a restored print. I had previously caught a snatch of it while channel surfing cable TV, and saw enough in about 30 seconds to realise that this was worth watching through if I got the chance.

I could barely speak at the end of the film. Pauline Kael called it one of the scariest movies ever made, and she was absolutely right. Robert Mitchum becomes the embodiment of evil, and his pursuit of the children is so relentless, and so menacing, that it becomes impossible to believe that they can escape. The images are brilliant; there's a depth to black and white that colour somehow lacks, and it is used superbly here to create a sense of brooding terror.

I didn't mind the homily at the end. Like everything else in the film, it is done with utter conviction, and this makes it work. Charles Laughton saw it as the indispensable conclusion to the film, and the strength of his belief makes it indispensable.

The images are so much part of the film that it must lose a great deal on the small screen, although my minimal exposure to it in that environment showed that it was still well worth watching, but if you get a chance to see it in a cinema, jump at it.