La morte corre sul fiume

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.

This classic film is set during the Great Depression; Ben Harper has stolen ten thousand dollars, killing two people in the process. He manages to get home and gives the money to his children, John and Pearl. They hide it in Pearl's favourite rag doll and he tells them not to tell anybody else, including their mother, about it. Shortly afterwards he is arrested and sentenced to hang. In prison he tells his story to his cellmate, Harry Powell. Powell professes to be a preacher but he preys on women who he murders for their savings. After Ben is executed and Powell's short sentence ends he heads off to befriend Ben's widow, Willa. Everybody except John takes an immediate liking to Powell. It isn't long before Powell marries Willa and soon after that he starts pressuring John to find where the money is hidden. Things soon get very dangerous as Powell will go to any length to get the money.

After over sixty years this film is still gripping and manages to provide some real surprises for the first time viewer. Robert Mitchum manages to be both plausible and genuinely menacing as the evil Powell. The innocent town where the Harpers live certainly isn't ready for a man like Powell. Shelley Winters is solid as Willa and Lillian Gish impresses as the woman who ultimately helps the children. Young Billy Chapin and Sally Jane Bruce are also good in the roles of John and Pearl respectively. Director Charles Laughton did a fine job building the tension, creating the right atmosphere and providing some moments that are surprisingly disturbing for a film of this era. Overall I'd say that this is a must see for any fans of classic cinema in general and certainly for fans of film noir.

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.

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.

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.