Night Of The Hunter (DVD)

'Night of the Hunter' pulls no punches in showing the corruption of men, and provides us with one of the most menacing screen heavies of all time, Robert Mitchum's study in terror, the 'Rev Harry Powell'.

This 1955 masterpiece, the only directorial outing by Charles Laughton, has taken a very long time to accumulate the praise it deserves, and upon release the press made 'Harry Powell' seem like a positive angel.

A highly ...
...enjoyed much success in both Britain and America when late in his career he decided to adapt Davis Grubb's novel of 'Night of the Hunter'. Mitchum was brought swiftly onto the project, and his biography recounts the troubled pre-production period of 'Night of the Hunter'. Scripts came and went, and after throwing out James Agee's screenplay (which the film still credits), Laughton set about rewriting the script.

A classic story of ... more

'Night of the Hunter' pulls no punches in showing the corruption of men, and provides us with one of the most menacing screen heavies of all time, Robert Mitchum's study in terror, the 'Rev Harry Powell'.

This 1955 masterpiece, the only directorial outing by Charles Laughton, has taken a very long time to accumulate the praise it deserves, and upon release the press made 'Harry Powell' seem like a positive angel.

A highly regarded stage and screen actor, the Yorkshire born Laughton had enjoyed much success in both Britain and America when late in his career he decided to adapt Davis Grubb's novel of 'Night of the Hunter'. Mitchum was brought swiftly onto the project, and his biography recounts the troubled pre-production period of 'Night of the Hunter'. Scripts came and went, and after throwing out James Agee's screenplay (which the film still credits), Laughton set about rewriting the script.

A classic story of good and evil, two angelic children are pitched against a demonic self appointed 'man of god', who knows a little too much about their father's past activities. A family on the breadline, the childrens father (Ben Haper - Peter Graves) had been forced to carry out a bank robbery in order to provide food and continued shelter. Before being caught by the police he hides the money, tells only the children, and prepares for his fate, comforted by knowing his children will have a roof over their head and food in their stomach.

Condemned by the authorities to hang until dead, his last act is to befriend the other occupant of his cell. The quietly deranged preacher prizes more and more information from the condemned until finally, while sleep talking, the location of the money is revealed.

Harry Powell serves his time, and upon release, tracks down the Harper family and ingratiates himself into their home. In the deep south of America, his God fearing outlook on life is welcomed by all of the locals, and he is seen as an ideal husband to the widowed Willa Harper (Shelley Winters) and her two children, John and Pearl.

On the honeymoon evening, it soon becomes apparent that all is not well with Harry, and he hatches his plan to relieve the Harper children of their fathers money, and if need be, their lives.

Taking his influences from the great European film-makers, such as Fritz Lang, Laughton creates a stark monochrome nightmare world. A never-never land that Tim Burton often strives for, but frequently falls short of.

Beautifully lit and choreographed, each camera setup boasts an eyeful of visual treats, and never at the expense of the story. Noticeably pared down, the slick and economic screenplay devotes maximum time to the ghastly Powell, and his pursuit of the Harper children.

Packed with magical moments, and scenes that still chill the blood, 'Hunter' is a directorial tour-de-force. Laughton must take great credit for the performace he ellicits from Mitchum, a controlled mania that stays the right side of over-indulgent, Powell is a terrifying creation made all the more frightening by Mitchums already powerful screen presence.

The rest of the cast perform nobly too, and one feels genuine sympathy for the Harper family as played by Shelley Winters, Billy Chapin and Sally Jane Bruce, as Mitchum slowly unfolds his plan to take the money. They create genuine characters, which therefore makes their predicament all the more unsettling, and shifts one closer to the edge of their seat.

Adding to the sense of dread is a suitably eerie score from Walter Schumann, he of the Dragnet theme.

Photographed by Stanley Cortez (The Magnificent Ambersons) it makes use of both exterior and studio locations, adding to the heightened sense of the surreal. Often only a step away from a gothic horror, this nightmare on celluloid lingers in the mind long after it has ended. Containing numerous haunting pieces of imagery, it was to 1950's cinema what 'Citizen Kane' was to the 30s. Endlessly creative, daring and downright atmospheric, the critics were dumbfounded.

Unsure of this black and white perverted fairytale, the press and critics tore the film, and particularly Laughton to shreds. In a display of pure spite and resentment, not to be seen again until the release of Lean's 'Ryan's Daughter', the press effectively ended the career of Charles Laughton. Shattered by the critical and ensuing commercial disaster of 'Hunter', Laughton was never to direct again, and appeared only 4 more times on film before passing away at the young age of 63.

Praise came too late for Laughton, but at least others included Mitchum, finally saw the film begin to be recognised as a classic piece of celluloid. If original audiences thought Mitchums performance over-the-top and scenery chewing, then later generations took the time to observe some of the subleties. If the 1950s were baffled by the dreamlike nature of the movie, then later viewers were instead enchanted.

Available on a sparse MGM DVD release, the picture and sound quality do at least seem top quality. No extras, with only some nice design work to redeem the release, it can frequently be found priced in the mid-range selections.

Play.com currently offer it in MGMs 2 for £10 deal. 

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