Chasing Through A Dreamland

The Night of the Hunter

(1955)




Directed by- Charles Laughton

*Robert Mitchum, Billy Chapin, Shelley Winters, Lillian Gish

Charles Laughton's inspiring noir thriller about a murderous Preacher is one of those early works of genius which basically created the templates that many films would follow for years to come.
As the menacing Reverend Harry Powell calls for the two innocent children in a sing song voice you can virtually feel the tension seeping through the screen and into the sweat of your palms.

Utilizing brilliant set design and the remarkable camerawork by Stanley Cortez, Laughton creates a dreamland which the two nimble protagonists endeavor through. That is how poetic the language of the film is. From the town to the river, the farm and the house of Miss Cooper, the perilous journey of John and Pearl, forming the centerpiece of the film is depicted very, very artfully.

And it's not just the sets but the lighting and the play of shadows conducted by Cortez that leave an indelible mark on one's mind.

(The giant shadow of Powell's head caused by a streetlamp inside the children's bedroom or the scene where the Preacher murders the mother in that crypt-like room.)

But what accompanies the narrative smoothly while enhancing the dread of the scenes is Walter Schumann's unforgettable music. With two original pieces, 'Lullaby' and 'Pretty Fly' (the latter being so enchanting I still can't stop humming) that are placed perfectly, the score is haunting and melodious at the same time.

Also making use of the traditional hymn, 'Leaning in the Everlasting Arms' as a motif for the killer, Laughton creates a chilling picture of vice and villainy through the mere use of a song.

But the film is so brilliant in its symbolism and the contrasts that watching it and unraveling these beautiful secrets is a treat in itself.

Such as, the literally angelic representation of Rachel Cooper (in the beginning), while she plays the role of a guardian angel for the kids; a bible-reading, god-fearing angel.

And Icey and Walt Spoon's switch into the cursing forebears of the mob is justifiably humorous.

Though what slightly put me off was the anti-climactic end of Harry Powell.

Then it's the acting. Robert Mitchum is every bit perfect as the seething villain, Harry Powell; the serpent with the silver tongue. His mannerisms, his accent and distinguished baritone and the way he narrates that 'Story of Good and Evil', all of it forms an image of a perfectly loathsome character, dimpled chin and all.

Lillian Gish as the benevolent Miss Cooper looks the part. Her kind motherly face and the slight quiver in her voice and the resolute firmness in the way she cocks her shotgun, it is all promising.

Finally, its the boy, Billy Chapin who plays an important role so very effectively.

This film is as deep in meaning as it is visually stunning.

It will remain not just one of the most unforgettable noirs but also a film that formed a brilliant specimen of cinema.

Rating- 4.4/5