A self-proclaimed preacher marries a gullible widow whose young children are reluctant to tell him where their real dad hid the $10,000 he'd stolen in a robbery.A self-proclaimed preacher marries a gullible widow whose young children are reluctant to tell him where their real dad hid the $10,000 he'd stolen in a robbery.A self-proclaimed preacher marries a gullible widow whose young children are reluctant to tell him where their real dad hid the $10,000 he'd stolen in a robbery.
- Awards
- 2 wins & 1 nomination
Gloria Castillo
- Ruby
- (as Gloria Castilo)
Corey Allen
- Young Man in Town
- (uncredited)
Oscar Blank
- Townsman
- (uncredited)
Paul Bryar
- Bart the Hangman
- (uncredited)
Nora Bush
- Townswoman
- (uncredited)
Cheryl Callaway
- Mary
- (uncredited)
Alexander Campbell
- Judge
- (uncredited)
Michael Chapin
- Ruby's Boyfriend
- (uncredited)
Noble 'Kid' Chissell
- Townsman
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaThe sequence with Powell riding a horse in the distance was actually a dwarf on a pony. It was filmed in false perspective.
- GoofsA man who is sentenced to only thirty days for a misdemeanor would be sent to the county jail, and not the state penitentiary, and thus, would never be sharing a cell with a condemned man on death row.
- Quotes
Rachel Cooper: It's a hard world for little things.
- ConnectionsEdited into Histoire(s) du cinéma: La monnaie de l'absolu (1999)
- SoundtracksDream, Little One, Dream
(uncredited)
Traditional
Arranged by Walter Schumann
Sung by a chorus during the opening credits
Reprised offscreen by an unidentified female when the chldren are on the run
Featured review
Just before John Harper's father is captured by police, he tells his son where he has hidden the money. While in prison for his crime, he sleep talks and betrays himself to the religiously unhinged Rev Harry Powell. Powell leaves jail with Harper dead in his cell and sets out to infiltrate the family and get the money. However, when he kills John's mother, he and his sister go on the run from him.
One of these `hindsight is 20/20' films that gains a reputation with time, this film deserves the praise in gets in many areas and deserve to be very fondly remembered, or at least a lot more fondly than it was received by critics and audiences of the time. The plot is basic but full of religious imagery that works very well, whether it's Powell's twisted preacher or the runs of scripture that many of the characters cling to. The film presents itself with a very strong tone of foreboding and darkness that makes the material (and characters) feel more dangerous.
Most of the credit for this belongs with Laughton as director, who uses shadow really well and frames the film with clever shots. Some that come to mind is the shadow of Powell on his horse on the horizon, or the woman in the car underwater and so on. It stills feels clever and inventive now so it must have been seen as very different in the fifties. How he didn't win an Oscar, I'm not sure wonder what else was up in this year.
Mitchum is tremendous in the title role, his role is larger than life and was also slightly playing with fire in it's portrayal as a reverend as corrupt or evil. Chapin is really wonderful as young John and has a much better character than some of the others in the cast. Winters is good in her performance. The only downside of the film is the 10 minutes at the end which feel like they are a happy ending that has just been tacked on and doesn't fit with the tone of the film.
Other than that, this is a very strong film in terms of theme, plot, acting and cinematography. It deserves more than it got at the time and I'm glad that modern audiences are finding this film all the time.
One of these `hindsight is 20/20' films that gains a reputation with time, this film deserves the praise in gets in many areas and deserve to be very fondly remembered, or at least a lot more fondly than it was received by critics and audiences of the time. The plot is basic but full of religious imagery that works very well, whether it's Powell's twisted preacher or the runs of scripture that many of the characters cling to. The film presents itself with a very strong tone of foreboding and darkness that makes the material (and characters) feel more dangerous.
Most of the credit for this belongs with Laughton as director, who uses shadow really well and frames the film with clever shots. Some that come to mind is the shadow of Powell on his horse on the horizon, or the woman in the car underwater and so on. It stills feels clever and inventive now so it must have been seen as very different in the fifties. How he didn't win an Oscar, I'm not sure wonder what else was up in this year.
Mitchum is tremendous in the title role, his role is larger than life and was also slightly playing with fire in it's portrayal as a reverend as corrupt or evil. Chapin is really wonderful as young John and has a much better character than some of the others in the cast. Winters is good in her performance. The only downside of the film is the 10 minutes at the end which feel like they are a happy ending that has just been tacked on and doesn't fit with the tone of the film.
Other than that, this is a very strong film in terms of theme, plot, acting and cinematography. It deserves more than it got at the time and I'm glad that modern audiences are finding this film all the time.
- bob the moo
- Nov 16, 2003
- Permalink
Details
- Release date
- Country of origin
- Official site
- Language
- Also known as
- La noche del cazador
- Filming locations
- Production company
- See more company credits at IMDbPro
Box office
- Budget
- $795,000 (estimated)
- Gross worldwide
- $6,030
- Runtime1 hour 32 minutes
- Color
- Sound mix
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