Muy sobrevalorada. Cro que una obra maestra debería ser atemporal. Me impresiona un cuadro del Bosco al mirarlo hoy, sin tener que hacer el ejercicio de pensar que lo pintó hace 500 años. Veo hoy "La noche del cazador" y el guión me parece infantil, ñoño y superficial. La fotografía irreal y exagerada. Los actores sobreactuados (la manito del niño en la tripa cuando siente dolor, por favor). Que hace 60 años la pelí era la hostia, vale, pero hoy no. Solo sobrevive la genial idea de love and hate en los puños
Una de las mejores películas de la Historia del Cine. Obra maestra incontestable.
Charles Laughton's "The Night of the Hunter'' (1955) is one of the greatest of all American films, but has never received the attention it deserves because of its lack of the proper trappings. Many ``great movies'' are by great directors, but Laughton directed only this one film, which was a critical and commercial failure long overshadowed by his acting career. Many great movies use actors who come draped in respectability and prestige, but Robert Mitchum has always been a raffish outsider. And many great movies are realistic, but ``Night of the Hunter'' is an expressionistic oddity, telling its chilling story through visual fantasy. People don't know how to categorize it, so they leave it off their lists.
James Agee's script faithfully treats Davis Grubb's novel with a surprising amount of levity mixed with an appropriate blend of horror and lyricism, and sets up a striking fairy-tale mood. The film is aided by cinematographer Stanley Cortez's noirish atmospheric German Expressionism and the haunting music by Walter Schumann. The masterful sinister performance by Mitchum might be the gifted actor's career best. Neglected on its first release, The Night of the Hunter is now deservedly considered as one of the best films ever made.
Based on a novel by Davis Grubb, ``Night of the Hunter'' is part fairy tale and part bogeyman thriller -- a juicy allegory of evil, greed and innocence, told with an eerie visual poetry. Dismissed at the time of its release, it's found a belated audience and stands among the greatest of American films.
Charles Laughton's The Night of the Hunter is the movie freak's definitive love machine: maligned when first released in 1955, hopelessly out of synch with American postwar sensibilities, so aberrant and singular it may properly be called the first Hollywood cult movie. An arch, Kabuki-like morality play set in a Saturday Evening Post mid-country and populated by shrieking archetypes, the film was, famously, Laughton's only directorial effort, and the mind boggles to ponder what kind of auteur career the man might've had come the '60s. As it is, Hunter is a paroxysm of stylistic excess, so untempered by reality or taste that even its stiff-limbed child performances feel like bad dreams.