The Night of the Hunter

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 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.

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.

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.