If there were ever a film that could be used as an example of critical reception and box office not determining quality, it would beThe Night of the Hunter. The sole directorial effort of English actor Charles Laughton is currently streaming onTubi, and it’san expressionist fairy tale that embraces the southern gothicand features one of the most terrifying performances by Robert Mitchum. WhileThe Night of the Hunteris now praised among critics and audiencesalike, the film suffered a negative reception upon release in 1955.
Set against the backdrop of the American South and utilizing many techniques prominent during the silent era of film,The Night of the Hunteris considerable in magnitude and depth. The preservation of such films is essential in establishing and maintaining a cultural legacy. Luckily, thanks to ahome media release through the Criterion Collectionand streaming free of charge on Tubi, a whole new generation can immerse themselves in one of the most engaging films ever made.
A Wolf in Sheep’s Clothing
At the forefront ofThe Night of the Hunteris Harry Powell (Robert Mitchum), the ultimate wolf in sheep’s clothing. A serial killermasquerading as a preacher, Mitchum’s performanceis one that continually shifts between unhinged sociopath and country gentlemen.WithThe Night of the Hunterbeing a fairy tale of sorts, Mitchum can best be described as the big bad wolf disguised as Little Red Riding Hood’s grandmother.
Essential to every fairy tale is the dichotomy of good and evil, of whichThe Night of the Hunterhas several. The first appearance of Powell on screen has him “conversing” with the lord in a stolen car, conversing about the victims he’s murdered that the “good lord” provided and the stolen money that will allow him to keep spreading his gospel.
The dichotomy of good and evil in Powell is firmly illustrated by tattoos on his hands, which bear the words “LOVE” and “HATE.” These two sides of Powell continually shift back and forth throughout the film.
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A Disruption of Familial Tranquility
As with other fairy tales, such asCinderella, a wicked stepparent comes into the fold and disrupts the domestic tranquility of an unsuspecting family. Harry Powell becomes this fixture in the fairy tale contained inThe Night of the Hunter. Powell befriends Willa Harper (Shelly WInters), the widow of Ben Harper (Peter Graves), whose children have hidden away the stolen loot procured by their father in a bank robbery.
Powell, who was Ben’s cellmate before his execution, attempts to pry the location of the loot from him before his death, but is unsuccessful. In an attempt to procure it, he moves in on Willa and her children, becoming the evil stepparent and transgressor of tranquility.
While Ben Harper’s appearance in the film is brief, his actions set up another aspect of good and evil, especially as it relates to Powell. BecauseThe Night of the Huntertakes placeduring the great depression, a time of crippling poverty, Ben’s reasons for theft are a necessary evil to allow his family to survive.
Powell’s motivations for procuring the loot are simply motivated by personal gain. The facade of the pious man of God begins to dissipate, and the full brunt of Powell’s sociopathic nature emerges.
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Light and Shadow, Good and Evil
An aspect ofThe Night of the Hunterthat fuels its narrative is the struggle between good and evil. More than the mere story that unfolds within the film itself, the expressionist film techniques are essential for accentuating the characters andtheir transformation into the fairy tale characters they become. Harry Powell’s desperation and degeneration towards unhinged behavior, particularly under the light of a full moon, takes on a subtle form of lycanthropy, as the wolf in sheep’s clothing can no longer deceive those around him.
If Harry Powell is the personification of deception and evil, his counterpart is found in the character of Rachel Cooper (Lillian Gish.) If Powell is the big, bad wolf, Rachel Cooper is the fairy godmother. After taking in Willa’s children and giving them a safe haven from Powell in pursuit, she becomes their caretaker and protector.
A Symbolic Passing of the Torch
The ultimate standoff between Powell and Cooper, which utilizes light and shadow to create a vivid silhouette of the two as Powell sits outside the house with Cooper inside,harkens back to days ofGerman expressionism from the silent era.
Stepping outside the context of the fictional narrative that exists withinThe Night of the Hunter, the scene, which includes a brief appearance of a lit candle, can be interpreted as the definitive “passing the torch.” Lillian Gish, who was one of the cinema’s first big movie stars during the silent era, is effectively passing the torch to Mitchum and a new Hollywood that will spawn countless matinée idols and films.
All these years later,The Night of the Hunterremains a definitive tale of good and evil, and a reminder that some of the most diabolical and menacing characters live among us and behind closed doors.
