The Night of the Hunter (film)
|The Night of the Hunter|
Theatrical release poster
|Directed by||Charles Laughton|
|Produced by||Paul Gregory|
|Screenplay by||James Agee|
Charles Laughton (uncredited)
|Based on||The Night of the Hunter|
by Davis Grubb
|Music by||Walter Schumann|
|Edited by||Robert Golden|
Paul Gregory Productions
|Distributed by||United Artists|
The Night of the Hunter is a 1955 American thriller film directed by Charles Laughton, and starring Robert Mitchum, Shelley Winters, and Lillian Gish. The screenplay by James Agee was based on the 1953 novel of the same title by Davis Grubb. The plot focuses on a corrupt minister-turned-serial killer who attempts to charm an unsuspecting widow and steal $10,000 hidden by her executed husband.
The novel and film draw on the true story of Harry Powers who was hanged in 1932 for the murder of two widows and three children in Clarksburg, West Virginia. The film's lyrical and expressionistic style with its leaning on the silent era sets it apart from other Hollywood films of the 1940s and 1950s, and it has influenced later directors such as Rainer Werner Fassbinder and Robert Altman.
In 1992, The Night of the Hunter was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and was selected for preservation in the National Film Registry.   The influential film magazine Cahiers du cinéma selected The Night of the Hunter in 2008 as the second-best film of all time, behind Citizen Kane.
In West Virginia in the 1930s, Reverend Harry Powell is a self-appointed preacher and misogynistic serial killer who travels along the Ohio River, justifying the women he murdered with his switchblade knife after marrying them for their money as doing God's work. After reaching a town sometime after his latest murder, Powell ends up being arrested for driving a stolen car and serves his sentence at Moundsville Penitentiary. By chance, Powell ends up sharing the same cell as Ben Harper, a local man who murdered two men in a bank robbery for ten thousand dollars. But with the police about to catch him, Harper makes his children John and Pearl promise to never reveal where the money is hidden after hiding it in Pearl's doll. Despite Powell's attempts to learn the money's location, Harper takes it to his grave.
Following Harper's execution, the released Powell makes his way to Harper's hometown where he charms the townsfolk while wooing Harper's widow Willa, who has been working for Walter Spoon and his wife Icey. Powell eventually marries Willa. Powell manages to win the town's trust, and only John is distrustful of him. John accidentally reveals that he knows the money's location when Powell overhears him reminding Pearl of their promise. Willa overhears Powell threatening Pearl to reveal the money, but Willa is deluded that Powell married her to redeem her soul.
Powell murders Willa soon after, dumping her body in the river while making it appear that she left him and the children for a life of sin. Powell then proceeds to threaten John and Pearl before learning the money is hidden inside Pearl's doll. The children escape him and attempt to seek refuge with Birdie Steptoe, an elderly man who spends his days drinking on his riverboat and is friendly with John. When they arrive, they find that Birdie has drunk himself into a stupor after discovering Willa's corpse, fearing that the town would blame him for her death. The children use their father's boat to flee down the river and eventually take sanctuary with Rachel Cooper, a tough old woman who looks after stray children.
Powell tracks them down, but Rachel sees through his deceptions and runs him off her property with Powell threatening to come back after dark. During the all-night standoff, Rachel shoots and wounds Powell as she traps him in her barn house before calling the police. The police, by now having discovered Willa's body, arrive to arrest Powell. John breaks down as he witnesses the arrest of Powell as a parallel to his father's arrest, beating the doll against the handcuffed Powell as the money spills out. Following Powell's sentencing at Moundsville, with John as a witness, Rachel takes him and the other children away as a bereaved Icey leads a lynch mob to take Powell from the police station. The police take Powell to safety, but the professional executioner promises to see Powell again soon. Finally, John and Pearl have their first Christmas together with Rachel and their new family.
- Robert Mitchum as Reverend Harry Powell
- Shelley Winters as Willa Harper
- Lillian Gish as Rachel Cooper
- Billy Chapin as John Harper
- Sally Jane Bruce as Pearl Harper
- James Gleason as Uncle "Birdie" Steptoe
- Evelyn Varden as Icey Spoon, Willa's employer
- Don Beddoe as Walt Spoon, Icey's husband
- Peter Graves as Ben Harper
- Gloria Castillo as Ruby, one of Rachel's girls
- Paul Bryar as Bart the Hangman (uncredited)
Harold Matson, a literary agent, sent a copy of the 1953 novel The Night of the Hunter by Davis Grubb to Paul Gregory. He sent the book to Laughton, who loved it and described it as a "nightmarish Mother Goose story". Laughton contacted Grubb, and the two of them instantly got along very well. He traveled to Philadelphia, where Grubb lived, and they spent five days discussing ideas for the film. Grubb had studied art in college, so he offered to draw sketches as a form of inspiration. Laughton loved the drawings, and many of them were used in the film's storyboard.
At first Grubb was being considered to write the screenplay himself, but the studio wanted to hire someone with experience writing for films. James Agee was hired as the screenwriter because he was from the South and had experience writing about the Depression. Agee began writing in April 1954, and finished in June, but his script was 293 pages: much too long for a feature film. Laughton made significant rewrites to the script, and his was the version used for shooting, even though he insisted that Agee be credited as the only writer. Agee's original script ended with a shot of children's faces floating among the stars, an idea that was eventually moved to the opening of the film. Throughout 1954, Gregory worked with the Production Code Administration to change the script to meet the guidelines of the Production Code. There was much concern about depicting a preacher on screen as an evil person, and Gregory made an effort to make the character of the Reverend not appear to be a real, ordained minister. Eventually the script was approved, but Protestant groups who had read the script continued to object to the film's production.
While preparing for the filming, Laughton studied silent films by viewing their original nitrate prints, including The Birth of a Nation, Intolerance, and The Four Horsemen of the Apocalypse. He wanted to "restore the power of silent films to talkies."
Laughton's initial thought after reading the novel was to cast himself in the role of the preacher, but Gregory convinced him that no studio would finance a film unless they cast someone else. For the most part, he didn't hold traditional auditions for the actors; he simply met with them to get a sense of their personalities and whether they were right for the role.
Laughton considered casting Gary Cooper as Harry Powell, but Cooper did not accept the role as he thought it might be detrimental to his career. John Carradine expressed interest in the role of the reverend, as did Laurence Olivier, but his schedule wasn't free for two years. Robert Mitchum was eager for the part of the preacher. When he auditioned, a moment that particularly impressed Charles Laughton was when Laughton described the character as "a diabolical shit," and Mitchum promptly answered "Present!" Laughton liked Mitchum for the role partly due to his sexual persona, but Grubb was concerned about the character of the preacher being considered sexual. Laughton told him, "If you want to sell God, you have to be sexy."
Agnes Moorehead, Grace Kelly, and Betty Grable were all considered for the role of Willa Harper. In the end Laughton chose Shelley Winters because he felt she had a vulnerable quality and was more of a serious actor than a movie star; she committed to the role only two weeks before filming began. In her 1989 memoir, Winters described this as "probably the most thoughtful and reserved performance I ever gave".
Laughton's first pick for the role of Rachel Cooper was his wife Elsa Lanchester. Jane Darwell and Louise Fazenda also were considered. Lanchester, for reasons unknown to Laughton, turned down the role, suggesting silent movie star Lillian Gish for the role. A doubtful Laughton went to New York for the purpose of watching films in which Gish starred. These included the shorts and feature films she made with pioneer D.W. Griffith. Gish had gotten word of him watching these old movies, and when she asked him why, he replied, "When I first went to the movies, they sat in their seats straight and leaned forward. Now they slump down, with their heads back, and eat candy and popcorn. I want them to sit up straight again."
Principal photography of The Night of the Hunter began on August 15 and ended on October 7, 1954, a total of 36 days of shooting. Laughton kept the editor and musical composer on set during filming, which was very uncommon at the time. Mitchum originally suggested Laughton to shoot the film in authentic Appalachian locations but the director couldn't afford the budget to do on-location shooting. Besides, he wanted to create the film's unique look on Hollywood sound stages and found what he was looking for at Pathé, Republic Studios, and the Rowland V. Lee ranch in the San Fernando Valley. Certain cutaway shots and compositing shots were shot in West Virginia. Laughton hired Terry Sanders as second unit director in order to scout and shoot the river scenes because he had recently directed an Academy Award-winning short film A Time Out of War, which mostly took place on a river.
Rather than shooting with traditional takes, Laughton had the crew only slate at the beginning of each reel of film and let the camera roll continuously until the reel ran out. This was so that he could direct the actors without waiting to reset the camera and sound equipment, not unlike the way silent films used to be directed. Shelley Winters told Laughton she had this image of Willa as being "a fly fascinated by a spider, and she very willingly walks into this web". He liked this image and told her to channel that into the performance. Mitchum's performance in the film has been described as Brechtian acting, which Laughton had extensive experience with. According to Lillian Gish, Laughton was very unsure of himself on set as this was his first time directing a film, and when someone would give him a suggestion he would start talking about fears that his whole vision was wrong. Laughton's directing style was supportive and respectful of the actors' input and several of the actors have said it was among their favorite professional experiences.
The director of photography was Stanley Cortez, who also shot Orson Welles' 1942 film The Magnificent Ambersons. Because Laughton had very little experience working with film, Cortez would visit his house to explain various concepts of camera lenses, camera heights, and what effect each of them gave. Laughton told Cortez that the nitrate prints of the silent movies that he had been watching for research impressed them with how sharp they looked, so he asked Cortez to create that same sharpness for The Night of the Hunter. The studio brought most of the crew from a recent film Black Tuesday because they had worked so well together, and Cortez had experimented with a new black-and-white film Kodak Tri-X on that production, with great results. He chose to shoot certain scenes of this film on Tri-X because it had a sharp contrast that would help fulfill Laughton's vision. The studio however, tried to convince them to shoot on color film instead because they thought it would sell more tickets. Gregory fought to keep it black-and-white: "I could not see this film being in color." The style of the cinematography was split up between the two units: the first unit of the crew shot the scenes in and around the Harpers' home, which were very dark, whereas the second unit shot the scenes traveling along the river, which were designed to look more like images from the children's perspective. One scene is particular that Cortez has spoken about is in the bedroom after Willa has overheard Powell threatening the children. He lit this scene with a halo of light surrounding Willa's head on the pillow, foreshadowing that her death is imminent. Cortez also brought back the Iris shot in one scene, as an homage to silent films.
Laughton drew on the harsh, angular look of German expressionist films of the 1920s, which is especially noticeable in the art direction by Hilyard Brown. He had the idea that children only noticed certain details of their surroundings that they are focused on, which is why some set pieces are somewhat abstract and minimal: neon lights that aren't attached to a particular store, white picket fences that are not surrounding any house, the barn along the river that looks like a painting, and the "chapel-like" parents' bedroom. The river scenes with the children were all shot on a sound stage. The shot of John looking out of the barn window and seeing Powell's silhouette on the horizon was created using a little person and a miniature horse. The underwater scene showing Willa's dead body was shot in a studio using a mannequin with a custom mask to make it look like Winters.
The film's score, composed and arranged by Walter Schumann in close association with Laughton, features a combination of nostalgic and expressionistic orchestral passages. The film has two original songs by Schumann, "Lullaby" (sung by Kitty White, whom Schumann discovered in a nightclub) and "Pretty Fly" (originally sung by Sally Jane Bruce as Pearl, but later dubbed by an actress named Betty Benson). A recurring musical device involves the preacher making his presence known by singing the traditional hymn "Leaning on the Everlasting Arms". RCA Victor was impressed by the score, so in 1955 they released a soundtrack with Schumann's score and Laughton narrating an abridged version of the story, also written by Grubb.
The Night of the Hunter premiered on July 26, 1955 in Des Moines, Iowa, a special event to raise money for the YMCA in Gregory's hometown, which included a parade and a broadcast on The Tonight Show. It later had its premiere in Los Angeles on August 26, 1955, and in New York on September 29, 1955.
To promote the film, the Los Angeles Herald-Express serialized the film's script throughout April 1955. The film also received an extensive promotional campaign from United Artists, but they weren't sure about the best way to promote it because it didn't fall into any typical film genres, and the promotional material didn't give a good sense of what the film was about. However, one of the film's ads won an award for being in the top 50 best ads of 1954 from the American Institute of Graphic Arts. According to Paul Gregory, "absolutely no money was spent on promotion...United Artists didn't have the muscle, desire, or intelligence to handle the picture." He originally had the idea to tour the film "road show style", stopping at certain cities that were familiar with Laughton's plays, but he couldn't convince the studio.
The Night of the Hunter was not a success with either audiences or critics at its initial release, and Laughton never directed another film. Bosley Crowther of The New York Times called the film "a weird and intriguing endeavor," adding: "unfortunately the story and the thesis presented by Mr. Grubb had to be carried through by Mr. Laughton to a finish—and it is here that he goes wrong. For the evolution of the melodrama, after the threatened, frightened children flee home, angles off into that allegorical contrast of the forces of Evil and Good." The staff of Variety summarized: "The relentless terror of Davis Grubb’s novel got away from Paul Gregory and Charles Laughton in their translation of Night of the Hunter. This start for Gregory as producer and Laughton as director is rich in promise but the completed product, bewitching at times, loses sustained drive via too many offbeat touches that have a misty effect." Life summed up the film, "If sometimes it strains too hard at being simple and winds up being pretentious, it still is one of the year’s most interesting and provocative films."
The Legion of Decency gave the film a B because it degraded marriage, and the Protestant Motion Picture Council rated it "objectionable," saying that any religious person would be offended by it. The film was also banned in Memphis, Tennessee by the city's head of censorship, Lloyd Binford. Great Britain rated the film "adults only."
The film was shot in black and white in the styles and motifs of German Expressionism (bizarre shadows, stylized dialogue, distorted perspectives, surrealistic sets, odd camera angles) to create a simplified and disturbing mood that reflects the sinister character of Powell, the nightmarish fears of the children, and the sweetness of their savior Rachel. Due to the film's visual style and themes, it is also often categorized as a film noir.
Laughton took this commercial failure of his first film personally, and never attempted to make another film.
At the time of its release, The Night of the Hunter received mixed reviews, but over the years it has come to be regarded as a classic. It began as a cult film, with a small group of fans, and regularly played at museums and in revival houses. Its popularity grew as a new generation of children were exposed to the film when it played on television. In the '70s, as the field of film criticism began to expand, many articles were written about the film.
The Night of the Hunter was rated No. 90 on Bravo's 100 Scariest Movie Moments. In a 2007 listing of the 100 Most Beautiful Films, Cahiers du cinéma ranked The Night of the Hunter No. 2. It is among the top ten in the BFI list of the 50 films you should see by the age of 14. In 2008, it was ranked as the 71st greatest movie of all time by Empire magazine in its issue of The 500 Greatest Movies of All Time. In the 1997 documentary series Dope Sheet, John Kricfalusi, creator of The Ren & Stimpy Show, considers The Night of the Hunter as his all-time favourite film; he has praised it for its direction, art direction, and acting.
In 1992, the United States Library of Congress deemed The Night of the Hunter to be "culturally, historically, or aesthetically significant", and selected the film for preservation in its National Film Registry. On Rotten Tomatoes, the film holds an approval rating of 99% based on 69 reviews, with a weighted average rating of 9.07/10. The site's critical consensus reads, "Featuring Robert Mitchum's formidable performance as a child-hunting preacher, The Night of the Hunter is a disturbing look at good and evil."
American Film Institute recognition
- AFI's 100 Years...100 Thrills - No. 34
- AFI's 100 Years...100 Heroes & Villains - Reverend Harry Powell - Villain No. 29
Mark Callaghan, the lead singer for the Australian band The Riptides, parodied Mitchum's character in the music video for the 1982 track, Hearts And Flowers.
Reverend Harry Powell's speech about love and hate has become a memorable moment in film history. In his 1989 film Do the Right Thing, Spike Lee created the character Radio Raheem who wears brass knuckles saying "love" and "hate" on each hand and gives a speech that is almost verbatim to Powell's.
The Night of the Hunter was released on DVD by MGM Home Entertainment in 2000. On November 16, 2010, the film was released on Blu-ray and DVD by The Criterion Collection in association with the University of California, Los Angeles film archive. Among other supplemental material the Criterion edition includes are various interviews with the cast and crew along with an appearance of the cast on The Ed Sullivan Show performing a deleted scene from the film and the two-and-a-half hour documentary Charles Laughton Directs "The Night of the Hunter".
In 1974, film archivists Robert Gitt and Anthony Slide retrieved several boxes of photographs, sketches, memos, and letters relating to the film from Laughton's widow Elsa Lanchester for the American Film Institute. Lanchester also gave the Institute over 80,000 feet of rushes and outtakes from the filming. In 1981, this material was sent to the UCLA Film and Television Archive where, for the next 20 years, they were edited into a two-and-half hour documentary that premiered in 2002, at UCLA's Festival of Preservation.
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|Wikiquote has quotations related to: The Night of the Hunter (film)|
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- The Night of the Hunter essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 ISBN 0826429777, pages 502-503