Garver, Kathy Movie Reviews

What is there still to say about a movie that most critics seem to feel is the best thing put on celluloid since Orson Welles' CITIZEN KANE (1941)? Overrated, maybe? Because that's exactly what 1955's THE NIGHT OF THE HUNTER is--overrated. That is not to say that it isn't a good film, because it is good. But it's hardly the flawless masterpiece it's often touted to be. It is also frequently misrepresented as a noir film, a thriller, or a horror movie, but at most, it is merely a better-than-average melodrama.

The film stars Robert Mitchum as Harry Powell, a man who claims to be a Christian preacher but whose morals and ethics are rather suspect. While sitting out a relatively short stint in prison, Powell shares a cell with Ben Harper, a man convicted of robbery and murder (and played rather woodenly by Peter Graves). Powell learns that the $10,000 Harper stole was never recovered, and he pumps Harper for information about where the money is hidden. Harper never gives Powell specifics, but the counterfeit clergyman learns enough to conclude that Harper's wife (a young and pretty Shelley Winters) or children may know the whereabouts of the cache of cash. After Harper is hanged for murder and Powell is finally released, the pretended parson makes a beeline for the home of Harper's widow. What follows is mayhem, maliciousness, and murder.

Mitchum's performance is excellent and decidedly the best in the film. His Harry Powell is the embodiment of expediency, selfishness, and evil. However, most of the other performances--including those of Shelley Winters and the usually excellent Lillian Gish--are at best histrionic and at worst stiff and unconvincing. Though she is an especially sweet-looking young lady, Sally Jane Bruce, who plays Harper's young daughter, is an especially stilted actress; it is obvious that she was cast so that her doe-eyed appearance would add a maudlin tone to the film. And the soliloquy with which Lillian Gish closes the film is so saccharine that one can almost see the syrup dripping from the screen.

But effusive and maudlin performances are what the script requires, as nothing about how the characters are drawn is in any way balanced or true to life. All of the adult males are portrayed in a negative light--they are either drunkards, sloths, henpecked scatterbrains, misguided miscreants, horny dawdlers, or cruel opportunists. And all of the women are portrayed as innocent victims or as determined go-getters who always triumph in the face of hardship. In THE NIGHT OF THE HUNTER, the world is painted with only two distinct shades: Men are dark and displeasing; women are bright and beautiful.

To be fair, not all of the film's flamboyance and histrionics can be blamed on the script. THE NIGHT OF THE HUNTER marks the only credited directing stint of actor Charles Laughton, probably best known to American audiences for his roles as Captain William Bligh in 1935's MUTINY ON THE BOUNTY, as Inspector Javert in 1935's LES MISÉRABLES, and as Quasimodo in 1939's THE HUNCHBACK OF NOTRE DAME. As is evident in Laughton's own acting style, he was very foppish and flamboyant himself, so it is not much of a stretch to assume that he would demand the same of actors under his direction.

This film is not particularly scary, nor does it have a truly gritty feel or a sense of hard-boiled cynicism, so it really is inappropriate to file it under thriller, horror, or noir. While it's true that Mitchum's Harry Powell is contemptible and vile, the character reads more like caricature than monster. Indeed, all of the characters are cardboard-cutout stereotypes, which leads one to conclude that the film is meant to be read as dark parody or satire. And in understanding that Laughton is herein taking pokes at religious expedients, the henpecked, the witless, the feminists, the romantics, and probably just about every other aspect of 1950's Western society, one gains more enjoyment from and a deeper appreciation of the movie.

In short, THE NIGHT OF THE HUNTER is not the awe-inspiring work of art that many hold it to be, but when interpreted correctly, it is an enjoyable film nonetheless. And though short on extras, the price of the MGM DVD makes the film well worth acquiring.

I'll be predictable and say "Citizen Kane" is the greatest movie ever. But I've always felt "The Night of the Hunter" is a rather unpredictable No. 2. It answers the question, "Are movies art?" The music, the black-and-white images, the dream-like quality to this work elevate it from entertainment media to artistic experience. Not pretentiously so, I might add. For one thing, we have real big-time actors here, not the no-name wanna-be actors we often see in those low budget independent films. And the two main children, brother and sister, are perhaps the best child actors I've ever seen on screen. There is a sadness in their portrayal which sets the film apart. Robert Mitchum is at his "Cape Fear" creepy best, but one must praise the subtlety he brought to his finest performances. I've never heard enough praise given to James Gleason, maybe because he's confused with Ralph G., but he added to the stature of many-a film, this one more than any other. The car floating under water, dreamily-- an unforgettable image. And the almost unrealistic night sky of stars that are almost too bright. The feeling of helplessness as the young kids try to escape a danger too large to comprehend. The feeling of peace and freedom on the river. The geniune religious quality to the entire movie, especially the final scene. Charles Naughton crafted a totally unique experience in this movie, with an exciting plot and universal theme. Like all great works of art, we can completely enjoy it while we're in it, but after we walk away know that there is so much more to it. I can't be more specific without giving away the plot, but just know this isn't the usual "thumbs up!" (By the way, I'd rank "The Apartment" at No. 3 and after that, I don't know).

Chilling, atmospheric, eerie thriller, directed by Charles Laughton in a style that borrowed from a variety of influences, including German Expressionism and D.W. Griffith. Mitchum, as the maniacal Harry Powell, gives the performance of his career.

Despite the reviews here on Amazon, "Night of the Hunter" was written by Davis Grubb, not by James Agee. Grubb's novel needed very little adaptation for the screen, although screenwriter Agee did his best to prove otherwise. Agee, battling severe alcoholism, died before the movie was ever released. His bloated, unworkable screenplay was entirely re-written by Laughton. At Laughton's insistence, Grubb provided his own illustrations to help the director conceive the right look and tone for the various scenes. Grubb was happy with the finished movie and considered it true to the book.

Although the movie was not successful in its day, "Night of the Hunter" endures as a beautiful, terrifying, and utterly unique movie classic.

The story takes place in the '50's and is based on a true story. This is a family friendly story of a town that is torn between a trial of a boy's dog, Old Drum for the killing of sheep. The story is well told by Randy Travis and Bobby Edner is believable as the young boy, Charlie. Trial of Old Drum is enjoyable for all ages and lovers of dogs.

Lots of fun for all ages. Micky Dolenz and Mary Woronov played the villians exquistly. Well worth the time and money enjoyable from the begining.

This movie was pretty good, kinda childish at times, but what do you expect? Trenton Knight was enjoyable as the young son, Josh.But Invisible Mom #2 was an absolute bomb; it was about as entertaining as watching paint dry. Even tho I'm a fan of Justin Berfield, even he couldn't save it from mediocrity.

I thought this was a great movie for any kid to watch. I usually fall asleep watching movies, but this one I just couldn't. I made myself stay awake to watch it. I have to say this is a great movie.