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Harry Powell marries and murders widows for their money, believing he is helping God do away with women who arouse men's carnal instincts. Arrested for auto theft, he shares a cell with condemned killer Ben Harper and tries to get him to reveal the whereabouts of the $10,000 he stole. Only Ben's nine-year-old son, John and four-year-old daughter, Pearl know the money is in Pearl's doll and they have sworn to their father to keep this secret. After Ben is executed, Preacher goes to Cresap's Landing to court Ben's widow, Willa. He overwhelms her with his Scripture quoting, sermons and hymns, and she agrees to marry him. On their wedding night he tells her they will never have sex because it is sinful. When the depressed, confused, guilty woman catches him trying to force Pearl to reveal the whereabouts of the money, she is resigned to her fate but the children manage to escape downriver, with Preacher following close behind. Written by
Emmett Lynn was originally cast and filmed as Birdie Steptoe, but director Laughton replaced him with James Gleason and reshot all of Lynn's scenes. See more »
When Icey Spoon negatively talks about being married to Walt for 40 years at the picnic, his reaction shot shows him set down the piece of chicken. But when Willa calls for John, we see Walt is holding chicken again. See more »
Once upon a time there was a pretty fly, he had a pretty wife, this pretty fly. But one day she flew away, flew away. She had two pretty children, but one night these two pretty children flew away, flew away, into the sky, into the moon.
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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.
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