Tag Archives: Charles Laughton

173. THE NIGHT OF THE HUNTER (1955)

“Dream, little one, dream,

Dream, my little one, dream.

Oh, the hunter in the night

Fills your childish heart with fright.

Fear is only a dream.

So dream, little one, dream.”

Lullaby from Night of the Hunter (lyrics by Walter Schumann)

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DIRECTED BY:

FEATURING: , Billy Chapin, ,

PLOT: Harry Powell is a self-ordained Reverend during the Great Depression who makes a living by touring Appalachia and marrying widows, who disappear soon thereafter under mysterious circumstances. In prison for stealing a car, he shares a bunk with Ben Harper, a bank robber on death row who has refused to tell the authorities the location of the $10,000 he has stolen. After his release (and Harper’s execution), Rev. Powell finds the robber’s widow, and learns that his young son John knows where the fortune is hidden.

Still from Night of the Hunter (1955)
BACKGROUND:

  • The film is based on a 1953 novel by Davis Grubb. The book was a bestseller at the time of it’s release but has long been out-of-print; Centipede Press is releasing a limited-edition hardcover edition of the novel in July of 2104.
  • Night of the Hunter‘s Harry Powell was based on real-life murderer Harry Powers, nicknamed “The Bluebeard of Quiet Dell,” a West Virginia-based killer responsible for the deaths of two widows and three children.
  • was Laugton’s first choice for Harry Powell but he turned down the role of the serial-killing misogynist preacher, thinking it might damage his career. Robert Mitchum had no such concerns and was eager to play the part.
  • Mitchum’s autobiography contains several inaccurate accounts of the filming, including the allegation that Laughton heavily rewrote James Agee’s original script (an accusation supported by Laughton’s widow Elsa Lanchester). Film scholars who studied Agee’s original script, which was discovered in 2003, reported that the director shot the film almost exactly as written.
  • This was the only film Charles Laughton ever directed. Although the story that he was so stung by the negative critical reaction to the movie that he never directed again is often repeated, Laughton himself claimed that he simply preferred directing theater to working on films.
  • Prior to shooting, Laughton screened silent films by D.W. Griffith to get a feel for the look he wanted for the movie.
  • In 1992, Night of the Hunter was selected for inclusion in the National Film Registry.
  • Ranked #71 in Empire Magazine’s 2008 poll of the Greatest Films of All Time. Ranked #2 on “Cahiers du Cinema”‘s list of the “100 Most Beautiful Movies.”

INDELIBLE IMAGE: Pick a single image from Night of the Hunter? It’s a fool’s errand. As much as it hurts to pass up the vision of the “good” Reverend with his right hand of love wrestling his left hand of hate, or the dreamlike serenity of Willa Harper’s final resting place, we think the most meaningful image must come from the children’s flight downriver—specifically, we chose the shot of the skiff passing before the spiderweb, as John and Pearl (temporarily) float away from their murderous stepfather’s snares.

WHAT MAKES IT WEIRD: The Night of the Hunter is such a massive achievement that we’re invoking 366 Weird Movies’ sliding scale rule: the better a movie is, the less weird it needs to be to make the List. Not that Hunter isn’t strange, by Hollywood standards (and particularly by 1950s Hollywood standards). Film archivist Robert Gitt called this expressionist/Southern Gothic hybrid “the most unusual and experimental film made in Hollywood in the 1950s.” Perhaps that is why director Charles Laughton decided to bring cinematographer Stanley Cortez, who once bragged “I was always chosen to shoot weird things,” onto the crew. Hunter is packed with shadowy, stagey, artificial shots (contemporary critics complained that the effects—both narrative and visual—were “misty”). Mixing fairy tale menace and Freudian killer fathers while masquerading as a titillating potboiler, Hunter was so unique and unexpected that it slid right under the upturned noses of viewers in the 1950s, that most conformist-minded of decades. Generations since have remembered it fondly—well, in their nightmares, at least—and it has since been elevated into the canon of great movies. And now, of great weird movies.


Original trailer for Night of the Hunter

 COMMENTS: An utterly original blend, Night of the Hunter is simultaneously a melodrama, a fairy tale, a film noir, a Southern Gothic, a Biblical Continue reading 173. THE NIGHT OF THE HUNTER (1955)

THE ISLAND OF LOST SOULS (1932) CRITERION RELEASE

1932’s The Island of Lost Souls is the first of three cinematic adaptations of H.G. Wells “The Island of Dr.Moreau.” It is easily the best, although the 1997 attempt with Marlon Brando was not the disaster some critics claimed, and in fact was considerably better than the static, unimaginative 1977 version with Burt Lancaster.

The 1932 Island, directed by Erle C. Kenton, is rightly considered a classic, enough so that it has received the Criterion treatment for a 2011 release. This is Kenton’s sole classic.  Although he was a prolific director, he was essentially a journeyman, taking whatever was handed to him and usually injecting little style.  His other horror films for Universal were The Ghost Of Frankenstein (1942), The House Of Frankenstein (1944), and The House Of Dracula (1945), and they are all second rate, at best.

Island of Lost Souls deviates from the original story (which, predictably, prompted H.G. Wells to voice his disapproval), but the film is simply told.  Like 1932’s Dr. Jekyll and Mr. Hyde, Island  is a pre-Hayes code film, and it shows.  Of course, both films were taken from  literary sources, and that too is apparent.  Lost Souls‘ literacy is due to screenwriter Philip Wylie, who also adapted Wells for ‘s The Invisible Man (1933).  The inimitable , one of the great classic screen actors, plays Dr. Moreua with a classicist’s relish.  Laughton is one of the major reasons for this film’s success, and as director Kenton shows atypical subtlety. These factors, combined with well-crafted sets and make-up, add up to a striking milieu.

Still from The Island of Lost Souls (1932)Island is almost an old-dark-house genre film, except that the stranded visitor, Edward Parker (Richard Arlen) ends up in a sort of kinky, contemporary Eden.  God is present in the symbolic persona of Dr. Moreau and although he is the antagonist, he is a three-dimensional one.  He is intelligent, crafty, and that naughty twinkle in the divine eye is ever present.  God is creating again, although this time he’s attempting to correct his previous mistake by making man from the image of Eden’s animals.  Eve (a Wylie addition) appears in the exotic Lota (Kathleen Burke, who notably showed up in the following year’s pre-Code Murders in the Zoo).  Lota, AKA Panther Girl, alternately projects innocence and unbridled sexuality, and she is utilized by Moreau to usher forth a new Adamic age, with Parker as the new Adam.  Of course, in every Eden there’s a rotten apple or two, and here it’s Parker’s abroad girlfriend (, from Freaks) and the Beast Men, Moreau’s ungrateful children who hold a grudge against their creator for little things like torture, brutality, and vivisection.  The Beast Men are led by the Sayer of the Law (, who is well-directed). The Sayer calls the creator out for hypocrisy and original sin.  The Beast Men are well sketched here, which is a sharp contrast to the mere animalistic portraits drawn in subsequent versions.  The finale is natural jolt, so much so that no other celluloid interpretation of the tale can match it.  This lucidly told imaginative spin on Dr. Frankenstein’s Eden still holds up remarkably well.

As for the Criterion treatment, most welcome authoritative commentary is given by historians Gregory Mank and David J. Skall, along with filmmaker (the original director of the 1997 version, who was replaced by John Frankenheimer).  Stanley offers entertaining, honest insight.  A little less welcome are reflections by John Landis and Devo.  Production stills and the theatrical trailer are excellent supplements.  This is a superb release that is essential for classic film lovers.