THE NIGHT OF THE HUNTER (1955)
Reviewed by Jerry Saravia
The story involves a Ben Harper (Peter Graves), who is sent to prison at the beginning of the film after hiding a large sum of money in the house. He leaves behind his two kids and his wife, Willa Harper (Shelley Winters). Enter fellow convict Harry Powell (Robert Mitchum), who gets wind of the missing money in prison. Harry eventually gets out of prison, woos and marries Willa and hunts for the money. Only the two kids (who know of the money's hiding place) are too smart to let anything happen to the money, yet they have also underestimated Harry and his murderous ways.
The revered Charles Laughton had directed "The Night of the Hunter," his only film behind the camera. Whatever he found unusable in James Agee's script (thoroughly revised though Agee still receives credit) was thrown out by Laughton himself, who completely rewrote the screenplay. I am not sure Laughton's improvements enhanced the film in any way. Though I had only seen this film once, I can say that every character is stereotyped to the nth degree. From Bible-spouting citizens who laugh and scream a little too loudly to the sometimes chilling Harry, a supposed Reverend, who hounds and disturbs kids to the high-pitched Missouri accent of Shelley Winters to two thoroughly bland kids being hunted by Harry, and on and on. Only the character of Rachel (played by the phenomenal Lillian Gish), the dear woman with a shotgun who tends to runaways, is given a shred of depth and dignity and Gish underplays wonderfully. The rest of the cast could have done the same. As powerful a presence as Mitchum is, he was far more menacing in 1962's "Cape Fear."
The two runaway kids seem unable to respond or emote in any effective manner at all. Laughton reportedly hated directing kids since he despised them, handing the reins to Robert Mitchum to direct them. The result shows on screen, especially in two instances. One is where the girl, Pearl (Sally Jane Bruce), cries in desperation before her brother, John (Billy Chapin), is about to be brutally wounded by Harry. It is a reaction that a normal child in a real situation would have reacted with far more horror than is shown. Another is where John cries at the sight of Harry arrested by the cops as he is handcuffed to the ground, reminding him of how his father was pinned to the ground and similarly handcuffed. These reactions seem forced and unnatural, and we are supposed to be rooting for the kids!
There are some beautifully composed shots in black-and-white that certainly stand out and have influenced many filmmakers, thanks to the great cinematographer Stanley Cortez (he also did the beautifully pristine "The Magnificent Ambersons"). I like the perspective of the Reverend on horseback as daybreak arrives while the kids hide in a hayloft. The scene where Harry stands at the top of the basement stairs and utters those famous words, "Chilll....dren!" The fantastic shot of Rachel sitting in her rocking chair with a shotgun and singing in harmony with Harry who sits outside the house waiting to grab the kids. Also worth noting is Wllla's demise underwater - a staple of great noir shots that is quite eerie. But these are all images that work in spite of the movie - as a whole, the movie is just too overplayed and overdramatized to warrant such great images. Think of it as Southern Gothic noir, only the Southern aspect is so damn melodramatic with its Bible hymns and choirs and irritating music score by Walter Schumann that you are likely to stay away from churches for some time.
"The Night of the Hunter" is considered a cult film and a classic for many movie lovers, and I can see where the appreciation lies. But its overly melodramatic and unsubtle notes undermine any clarity or suspense for the story to work. I suppose it is too Southern with a capital S for my tastes."Baby Doll" it ain't.
