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Headline is thrilled to be publishing the sensational New York Times bestselling author Laurell K. Hamilton, the queen of vampire fiction

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Adapted by James Agee from a novel by Davis Grubb, The Night of the Hunter represented legendary actor Charles Laughton’s only film directing effort. Combining stark realism with Germanic expressionism, the movie is a brilliant good-and-evil parable, with good represented by a couple of farm kids and a pious old lady, and evil literally in the hands of a posturing psychopath. Imprisoned with thief Ben Harper (Peter Graves), phony preacher Harry Powell (Robert Mitchum) learns that Ben has hidden a huge sum of money somewhere near his home. Upon his release, the murderously misogynistic Powell insinuates himself into Ben’s home, eventually marrying his widow Willa (Shelley Winters). Eventually all that stands between Powell and the money are Ben’s son (Billy Chapin) and daughter (Sally Jane Bruce), who take refuge in a home for abandoned children presided over by the indomitable, scripture-quoting Rachel Cooper (Lillian Gish). The war of wills between Mitchum and Gish is the heart of the film’s final third, a masterful blend of horror and lyricism. Laughton’s tight, disciplined direction is superb — and all the more impressive when one realizes that he intensely disliked all child actors. The music by Walter Schumann and the cinematography of Stanley Cortez are every bit as brilliant as the contributions by Laughton and Agee. Overlooked on its first release, The Night of the Hunter is now regarded as a classic.~ Hal Erickson, All Movie GuideIn the entire history of American movies, The Night of the Hunter stands out as the rarest and most exotic of specimens. It is, to say the least, a masterpiece–and not just because it was the only movie directed by flamboyant actor Charles Laughton or the only produced solo screenplay by the legendary critic James Agee (who also co-wrote The African Queen). The truth is, nobody has ever made anything approaching its phantasmagoric, overheated style in which German expressionism, religious hysteria, fairy-tale fantasy (of the Grimm-est variety), and stalker movie are brought together in a furious boil. Like a nightmarish premonition of stalker movies to come, Night of the Hunter tells the suspenseful tale of a demented preacher (Robert Mitchum, in a performance that prefigures his memorable villain in Cape Fear), who torments a boy and his little sister–even marries their mixed-up mother (Shelley Winters)–because he’s certain the kids know where their late bank-robber father hid a stash of stolen money. So dramatic, primal, and unforgettable are its images–the preacher’s shadow looming over the children in their bedroom, the magical boat ride down a river whose banks teem with fantastic wildlife, those tattoos of LOVE and HATE on the unholy man’s knuckles, the golden locks of a drowned woman waving in the current along with the indigenous plant life in her watery grave–that they’re still haunting audiences (and filmmakers) today. –Jim Emerson, Amazon.com

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In the entire history of American movies, The Night of the Hunter stands out as the rarest and most exotic of specimens. It is, to say the least, a masterpiece–and not just because it was the only movie directed by flamboyant actor Charles Laughton or the only produced solo screenplay by the legendary critic James Agee (who also co-wrote The African Queen). The truth is, nobody has ever made anything approaching its phantasmagoric, overheated style in which German expressionism, religious hysteria, fairy-tale fantasy (of the Grimm-est variety), and stalker movie are brought together in a furious boil. Like a nightmarish premonition of stalker movies to come, Night of the Hunter tells the suspenseful tale of a demented preacher (Robert Mitchum, in a performance that prefigures his memorable villain in Cape Fear), who torments a boy and his little sister–even marries their mixed-up mother (Shelley Winters)–because he’s certain the kids know where their late bank-robber father hid a stash of stolen money. So dramatic, primal, and unforgettable are its images–the preacher’s shadow looming over the children in their bedroom, the magical boat ride down a river whose banks teem with fantastic wildlife, those tattoos of LOVE and HATE on the unholy man’s knuckles, the golden locks of a drowned woman waving in the current along with the indigenous plant life in her watery grave–that they’re still haunting audiences (and filmmakers) today. –Jim Emerson, Amazon.com

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Expressionist Film: Film Noir, Citizen Kane, the Third Man, the Night of the Hunter, the Cat and the Canary, Requiem for a Dream

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Devil Hunter

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