The Night of the Hunter

Here are my instant reactions--before my opinions are sullied by Letterboxd and/or movie podcasts--about the 1955 movie The Night of the Hunter. I had never seen it, though I knew of its existence for many years.

This is not a blow-by-blow review of the movie, and I will try hard not to give any spoilers for the movie (even though it's 70 years old)

The Night of the Hunter was Charles Laughton's one and only directorial turn and he nails it. I have read that Robert Mitchum has taken at least some credit for direction, but since the official credit goes to Laughton, I will extend my accolades to him.

As for Mitchum, he is eerie and terrifying as the sinister, greedy preacher Harry Powell, who will do anything to get his hands on the stash of cash he knows is somewhere in or near Willa Harper's (Shelley Winters) house.

This movie has to be considered one of the first psychological horror movies, though it's not straight-up horror. In fact, in its final 15-20 minutes, it almost turns into a Christmas movie. (I will have to see if anyone online has posited, "Night of the Hunter. Christmas movie? Yes or no?").

Like Cat on a Hot Tin Roof, this is also an old/older movie in which the main male character is married to an attractive woman but has no interest in her sexually. I had to see if anyone else thought that Powell is coded as gay...and I am definitely NOT the first person to believe that. In fact, the subtext is pretty much text. There is no doubt that Powell is either gay or asexual, though I certainly lean more towards gay.

There is a little social/gender commentary in how the movie portrays the limited options that women have historically had, certainly a widow in 1930s West Virginia. Willa feels pressured to marry Powell, and then is forced to change her personality to suit his needs, but even that is not enough.

Halfway through, the film becomes a "children in peril" story, but young John Harper is resourceful and brave in guiding himself and his sister to safety.

Lillian Gish deserves praise for her portrayal of the pious Rachel Cooper, who has her own small makeshift orphanage of children who for various reasons have lost their parents during the Depression. She is also the one adult who sees through Powell's bullshit and stands up to him.

The movie is beautiful to look at, full of shadows, light and dark, and dreamlike (and nightmare-like) visions and landscapes.