The Night of the Hunter (1955)

Director:

Charles Laughton

Writers:

Davis Grubb (novel)
James Agee (screenplay)

Release Date:

24 November 1955 (Argentina)

Genre:

Drama | Film-Noir | Thriller

Tagline:

The wedding night, the anticipation, the kiss, the knife, BUT ABOVE ALL... THE SUSPENSE!

Plot:

A religious fanatic marries a gullible widow whose young children are reluctant to tell him where their real daddy hid $10,000 he'd stolen in a robbery.

Plot Keywords:

Money | Widow | Children | Preacher | Court

Awards:

1 win

Cast

Robert Mitchum	...	Harry Powell
Shelley Winters	...	Willa Harper
Lillian Gish	...	Rachel Cooper
James Gleason	...	Birdie Steptoe
Evelyn Varden	...	Icey Spoon
Peter Graves	...	Ben Harper
Don Beddoe	...	Walt Spoon
Billy Chapin	...	John Harper
Sally Jane Bruce	...	Pearl Harper
Gloria Castillo	...	Ruby (as Gloria Castilo)

Also Known As:

La noche del cazador (Argentina) (Mexico) (Spain) [es]
Die Nacht des Jägers (Austria) (West Germany) [de]
La nuit du chasseur (Belgium: French title) (France) [fr]
A Sombra do Caçador (Portugal) [pt]
A vadász éjszakája (Hungary) [hu]
De jagersnacht (Belgium: Flemish title) [un]
I nyhta tou kynigou (Greece) (reissue title) [el]
La morte corre sul fiume (Italy) [it]
Noc mysliwego (Poland) [pl]
O Mensageiro do Diabo (Brazil) [pt]
O thanatopoinitis me to simadi (Greece) [el]
Pimeydessä vaeltava (Finland) [fi]
Räsynukke (Finland) [fi]
Trasdockan (Sweden) [sv]

Runtime:

92 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.66 : 1

Sound Mix:

Mono (Western Electric Recording)

Certification:

Finland:K-16 (1959) (cut) | South Korea:15 (2003) | Brazil:14 | Argentina:13 | Australia:M | Canada:14A (video rating) | Finland:(Banned) (1955) | Norway:16 | Portugal:M/12 | Sweden:15 | UK:12 | USA:Approved (certificate #17385) | West Germany:12 | UK:X (original rating)

Filming Locations:

CBS Studio Center - 4024 Radford Avenue, Studio City, Los Angeles, California, USA

Company:

Paul Gregory Productions

Trivia:

Robert Mitchum once stated that Charles Laughton was the best director he had ever worked for, ironic in that Laughton never directed another movie after The Night of the Hunter (1955) with Mitchum.

Goofs:

Factual errors: The turtle that John says could be made into soup is actually a desert tortoise.

Quotes:

Willa Harper: [Willa and Harry's wedding night] Harry?
Rev. Harry Powell: I was praying.
Willa Harper: I'm sorry. I didn't know. I thought...
Rev. Harry Powell: You thought, Willa, that the moment you walked in that door, I'd start to paw at you in that abominable way that men are supposed to do on their wedding night. Ain't that right, now?
Willa Harper: No, no, no.
Rev. Harry Powell: I think it's time we made one thing perfectly clear, Willa. Marriage to me represents the blending of two spirits in the sight of Heaven. Get up, Willa.
Willa Harper: Harry, what...?
Rev. Harry Powell: Get up. Now go look at yourself yonder in that mirror. Do as I say. Look at yourself. What do you see, girl? You see the body of a woman, the temple of creation and motherhood. You see the flesh of Eve that man since Adam has profaned. That body was meant for begettin' children. It was not meant for the lust of men! Do you want more children, Willa?
Willa Harper: I... no.
Rev. Harry Powell: It's the business of this marriage to mind the two you have now. Not to beget more. Alright, you can get in bed now. Stop shivering.
[...]

Movie Connections:

Spoofed in Surge of Power (2004)

Soundtrack:

Dream, Little One, Dream

Overwhelming

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.