Reviews (21)

Now isnt that him???
The first time I saw this movie ,someone told me that there is actually a scene in which Mario Lanza does indeed appear.... after about the third time, I think I found it....It is the scene in the cathedral after the King dies and the Prince is singing "I'll walk with God". Not the close up, mind you, but the very long wide angle shot. That said, regardless of why Lanza was fired or quit or got too fat(All stories that go around).This is a delightful old fashioned film. Edmund Purdom does an admirable job(especially of the dubbed songs)in a really tough turn.Ann Blyth is a perfect Kathy and the supporting cast is among the best.What a hoot to see Richard Anderson and John Ireland as the leaders of the rival corps. I dont suppose they could really sing either,but...
An all around good time!

Beautiful music...Heartbreaking Story
I will not recap the story behind this beautiful musical....other reviewers have done this well. All I want to say is be prepared to be delighted by the music and destroyed by the ending of the story. No matter how many times I've seen The Student Prince I end up a whimpering mess at it's conclusion. Very bittersweet and all too real, impossible love situations destroy me. That look on Ann Blyth's face, as the Prince she loves but cannot have visits her one last time, haunts me well after the film concludes, at which time I'm crying like a baby. In fact, as I write these sentences I'm crying again!! Too bad that Mario Lanza was not given the acting role (for whatever reason). We do get to hear his glorious singing voice dubbed with actor Edmund Purdom doing a credible acting job. But it is the radiant Ann Blyth (with her own beautiful singing voice) that steals the show for me, and I'm a gay man!! I only hope the DVD will follow soon.
Recommended for all lovers of romance. Have the tissues ready for the ending.

Mario's Voice and Edmund's Body
Mario Lanza was slated to star in this great movie. Unfortunately, he gained a lot of weight and was replaced - not just directorial differences, but Lanza's eating/drinking were taking him over - a sad by-product of fame for some. Edmund Purdom is not Lanza but he does make a handsome prince. When I first saw the close-ups, I noticed that the synching wasn't quite in-synch...but one soon forgives and forgets. This is a lovely story with outstanding music - in all, a delight.

excellent musical.
"The Student Prince," with Ann Blyth and Mario Lanza is a wonderful and beautiful film. I so enjoy it. It's colorful such a great fairytale and some of the best songs. Mario Lanza and Ann Blyth are great actors abd singers. The costumes and scenery deserve a award. A must see film well worth watching many times.

Lanza Was Right... the Directing is Terrible!
This is the worst film to feature Lanza in any way. Lanza and the Director just couldn't get along and I can see why. The Director has poor Edmund walking his wooden way through this film while incongruously opening his mouth and emitting all of the unrestrained passion of Lanza's voice. Lanza wanted to play the Prince evolving from a disciplined Prussian into a passionate lover. The Director would not allow the metamorphosis. Lanza would have been great in this role, but he just couldn't tolerate what he thought (correctly, I believe) was the absurd juxtaposition of the sometimes sentimental other times pleading or romantic music/lyrics... with the Director's insistence that the lead be played almost devoid of emotion. It was Director vs. Mario and the result was that this is the film marks the beginning of the tragic end of Lanza's painfully brief career. ... Read more

Amazon.com

"A basket full of kisses for a basket full of hugs." Those are chilling words, at least when uttered by that ice princess, Patty McCormack. As Rhoda Penmark, she is as pretty as a porcelain doll but drips venom with each curtsey and polite response. Little Rhoda's mother is terrified she has passed on her own mother's corruption. Oops, turns out she's right. This passes the test of time, as it still gets under your skin. The character development is tight and the story very involving. Not even Freddy Krueger had the ability to scare like tiny McCormack, looking just like a little adult while she literally beats out the competition for a penmanship award. However, director Mervyn LeRoy's hands were tied over the ending, which was changed from the source material--Maxwell Anderson's hit Broadway play. A supposedly more appropriate, and moral, ending was demanded by the studio. This was remade (badly) in 1985. --Rochelle O'Gorman ... Read more

Reviews (70)

My Favorite Horror Movie of all Time
I personally feel that this is one of the greatest horror movie made. Forget all of that blood and guts and popping out of the bushes to scare people. That fear only lasts for a second...This movie plays with your mind and lasts forever. Nothing is scarier than polite Miss Rhoda Penmark.
This movie contains brilliant direction and an amazing cast. Many people feel that the acting is overdone and that they act like they are still in the stage version, entertaining an audience in a theater but that is the way it was meant to be made. Making it look like a regular movie would ruin the essence of the evil, 8-year old killer. Nancy Kelly is truly amazing as Christine. Her "breakdown" scenes are heart wrenching and done very well. She is most-natural and does a wonderful job in playing a woman going through the delemma of whether or not she should hate or love her daughter. Her performance is beautiful, "She killed him! But she's my little girl...and I love her!". The highlight of her acting is when Rhoda just kills one of her victims (I won't say who) and Rhoda is playing the song she always plays on the piano faster and faster and faster. It is such and amazing scene. She deserved the Tony she won during the play and the Oscar nomination. Now, there is Patty McCormack who is definatly chilling in this role. Her perfect smile is just as scary as her evil ways. When she describes the way she killed the little boy I always shudder ,"But he told me that he was going to tell on me...SO I HIT HIM WITH MY SHOES AGAIN!! I hit him harder that time." After the scene where she confesses her murders and Christine tells Rhoda to throw her shoes down the incinerator, the shot of Rhoda's sillouette tossisng the shoes while Christine just sits in the backround and watches with fear, as Rhoda smiles, brings chills down my spine. Her acting gets an A+ and she also deserved the Oscar nomination as well as Kelly. Another, nominated for an Oscar for her role, was Eileen Heckart for the role of (which I think is one of the greatest characters in theatrical history)Mrs. Dagel..the grieving mother of one of Rhoda's vicitms. Although only appearing in two scenes, she makes just as big of an impact as Christine and Rhoda do. Heckart is brilliant in the role and it would be almost imposible to find someone who could do as good of a job as she did. Her beautiful monolougues are truly amazing and heartfelt. Other great performances are that of Henry Jones, the creepy Leroy who is the only one who realizes that Rhoda is evil, Evelyn Varden, as the housekeeper, Monica, who spoils Rhoda terribly, Miss Fern (I can't quite think of her name), as the teacher at The Fern School, and Christine's father (I can't think of his name now either), who is a former mystery writer with a big secret that he is keeping from Christine, which has to do with why Rhoda is a bad seed, something inside of Christine that she passed down to her daughter.

There is a lot of controversy over the ending curtain call and the happy spank that Christine lays on Rhoda. I feel that the curtain call and spanking gives the audience a sese of relief since the movie is so disturbing.
I reccomend this movie to everyone that can handle a plot that is different and disturbing.
Don't blame Rhoda for her murderous acts. It isn't her falt, she is just a bad seed.

THE PERFECT LITTLE GIRL.....
Based on the famous Broadway play, "The Bad Seed" should be just fine on DVD. This chiller about the "perfect" Rhoda Penmark with her long blonde braids and cold, cold heart stars most of the play's cast---Patty McCormack as Rhoda, Nancy Kelly as her mother, Henry Jones as Leroy the apartment handyman and Eileen Heckart as the mother of one of Rhoda's schoolmates. While her pilot husband is away, Mrs.Penmark begins to suspect there's something wrong with her perfect little girl. You bet there is, she's a cold-blooded killer! As Rhoda's list of victims grows, so does her mother's terror as she begins piecing together the clues and facts. The film, shot in stark black & white, appears stagy but this works fine because it's all about the performances. They're brilliant. Mervyn LeRoy allows the characters to remain like they were on stage for maximum impact. The only complaint, Hollywood tacked on a dumb second ending to allow the characters their bows and to say "See? This was only a movie!" because in 1956 the subject matter (and original climax and ending) was quite shocking. But the film is still a classic of it's kind and very much a must see for those who havn't seen it. Watch for it.

a little blonde classic monster
I have seen this movie so many times, and it just keeps getting better as time goes by. Little Patty Mcormick is execlent as Rhoda Penmark and the chemistry she has with Nancy Kelley and Henery Jones is beyoned words. I get chills when I see the scene where she confronts Leroy about giving back her shoes!!!
Its about time this classic is comming out to DVD

A Basket Of Kisses.......
Over the years, there have been so many female villains, it's easy to lose track. Anne Baxter(ALL ABOUT EVE), Ann Blyth(MILDRED PIERCE), Joan Bennett(SCARLET STREET), Bette Davis(THE LITTLE FOXES to name one of many), Gene Tierney(LEAVE HER TO HEAVEN), the list goes on. But I think they all would have been more a little unnerved to get in the way of Rhoda Penmark. This movie is one that is so impish in it's own delight, it's impossible not to smile & go along for the ride. Originally a play, the film does tend to lose it's strength with all the psychobabble & it does occasionally get caught up in it's own pretentiousness, but fear not. For any & every minute that Rhoda(played to the absolute hilt by Patty McCormack)is on the screen, you BAD SEED virgins out there will wonder how this film is unknown to you.
Nancy Kelly delivers what would have to be one of the most over-the-top performances in the history of cinema as Rhoda's unsuspecting mother & Evelyn Varden's overbearing landlady, Monica, chews enough scenery to last a lifetime. But it's all about Rhoda. Evil, ruthless, determined, selfish, sweet, & yes, at times, loving. The sheer joy of watching this film is being secure in the knowledge that no matter how sweet this girl is to those around her, unlike us, & eventually her Mother, she's got them fooled.
Nancy Kelly was nominated for a Best Actress Oscar for her work here & both Miss McCormack & Eileen Eckhart(as the mother of one of Rhoda's victims)scored Supporting nods. Nobody makes films like this anymore..and why? Nobody could.......

The Play's the Thing!
The stage version of "The Bad Seed" was brilliant with an equally brilliant ending.
The movie is much too stagey, a bit too Broadwayesque in its presentation, that is, practically filming a stage show with all its limitations, including the stage-acting..a tad pompous. Except for Patty McCormack, the other characters should have been re-cast. ... Read more

Reviews (12)

Good ideas, bad form
Pinky shows the conflicted views of a black woman passing as white. We see her search for some identity while she is torn between the world of blacks and her heritage and the world of whites, those who persecute her ancestors.However; the film was a bit dull. There was an overall lack of action, and the ending was abrupt and poorly constructed. The ideas behind the movie were good, but the plot was almost too simple, and her internal conflict was resolved too quickly. They also neglected to show her lasting emotions for Tom, and it is unrealistic to think that she could drop contact with Tom so quickly and recover so well.

Pinky was a landmark film
And "Pinky" came 10 years before "Imitation of Life."

The criticism of casting "lily-white Jeanne Crain" for the part of Pinky is quite unjust.

I was born and raised in the South and and I saw nothing unbelievable in casting Ms. Crain in this part. Genetics - skin color, eye color and other physical characteristics are capable of being quite capricious.

The fact that this film was banned in the South should tell us something about the power in this movie "Pinky."

The movie itself was a wee bit over-acted as old dramatic flicks sometimes are, but I really enjoyed it. A lot of substance in the message - about how to define what we really are and how to define what makes a family and the power of unconditional love to heal and to save.

But my favorite character was Ethel Waters (the Aunt who raises Pinky). She was an incredible actress and completely believable in this role. Humble, gentle, self-sacrificing and ever-loving - while enduring her thankless jobs as nursemaid to a grouch and washwoman who worked for pennies - her part stole the show.

The white Negro and the concept of freedom
To be Negro does not always mean to be black, nor a black skin need remain black any more, nowadays...

Elia Kazan's irreverent and pervasive humour marks skin colour as a matter of the person's spiritual choice, between the world and one's own self-the spirit of temptation is again a character test ...

A natural white Negro is pressed (tempted) to forget (lose) oneself , stay on the better part of the world, reserved for "whites", and avoid the pains of conflict -- the same way professionals (not only actors) assume roles, wear new faces, cut new teeth and confront the lights with broad, lying smiles, thus becoming "images"...

The tragedy is that in one's quest to avoid pain, sometimes will suffer deep, and weep more, inside a persona encrusted on person and soul...

Human rights of a white Negro.

But in this film we follow a naturally white Negro girl who returns home (a town in the South), now a graduate nurse. She is angry, --- and her education allows her enough freedom to express her anger articulately --- for the social predicament in which she has to re-lapse, as a poor Negro woman, despite her brilliant education.
But, because of her rampant anger and her acquired quick reflexes to the challenges she faces, she fails to see other, fundamental aspects of life, that transcend the race-difference concept through which she experiences life, so painfully. This counts as a failure to communicate with her grandmother and friends. ("Nobody hates you, Pinky!")

This is one main theme of the story: Concepts, as the title of the film itself, ("Pinky") which is the name of the heroine, true to the reality of her skin colour, which can fit either of two races.
So, a white woman (as Pinky is taken for on appearance) is pressingly offered two white males' unsolicited patronage to exit the territory she is not supposed to walk about alone, in the Negro neighbourhood, for fear of molestation by the blacks. But when Pinky says she is in her very neighbourhood, there immediately arises the threat and violence of molestation by the white "protectors"-- the end concept being that woman is the Negro of the world, in any case...

These two women figures, the white mistress and her black faithful servant have evolved closely together, despite their colour, their class and even their educational differences. They seem different , but their spirit is revealed to be kindred.

They both care for Pinky, and they succeed to help in her spiritual development in their way.

As the grand mother says,"When you grow so old there is no such thing as a place you have to keep», you move to a unity that has no colour or class concept to keep people apart. So the old teacher, to whom Pinky near forcibly becomes a nurse, bequeaths her estate to her-to compensate her for her service-or/and to give her a reason to fight, an outlet for her anger-or/and to make a place for her in her own world , which she was so tempted to abandon, along with a part of her own self...

Pinky addresses the best in the lawyer who will defend her case in court. And though the trial is seen as preoccupied with the white peoples' view, the judge finally finds for the defendant, and admonishes the town folks who would not tolerate a Negro with substantial property among them.

Justice is done "but the community issues have not been served".

Now that her anger has been atoned, Pinky will answer the question what she really wants to do. She will not marry nor follow away the Yankee doctor she thought she loved, because she will not abandon the "black" part of her soul.

She stays, turns the house she inherited to a nurse school, thus finding her purpose of life.

These are the three main characters of the film, Pinky, the angry white Negro woman, her grandmother, the illiterate voluminous negro Mother who, by serving others and by the pains of her love, has earned wisdom; and the frail, brittle yet imperative white teacher, who little by little has earned the wisdom of the essential, to know the truth.

There are many lesser but memorable characters in the narrative:

The loving fiancé, who is ready to make big sacrifices for his love, Patricia, even when he discovers that she is Pinky, a Negro. He is a big-city man, ready to move away from "home", to another state, to avoid gossip about the "dark background" of his woman; there they can both "lose themselves" among an indifferent crowd, who need not know them...

Educated member of the community, the lawyer, a southern gentleman with a deep sence of honour, loyalty and duty, who makes sure Pinky receives a fair trial, and finally full justice, although he doubts if other matters of the community have been served by this confrontation.

There is also the vulgar and greedy, ripe yet dumb "belle", who would have inherited, who makes a spectacular point of putting Pinky in her place, of a coloured woman, in case she had forgotten or anyone else had not noticed...

There is the pathetic Negro clever dick, who "lives by his brains", serving the powerful and oppressing the needy.

Most comical is the scene of the arrest, by two policemen, who haste to protect a lady (Pinky) from the blacks that mistreat her. But when they are told that Pinky is black herself, their attitude becomes equally violent to all, regardless of sex...

As vivacity and functionality of a society is not just a matter of a corpus of legislation on oh Human Rights, but these qualities are measured by their fruits, the alleviation of pain and the incorporation of more individuality, we can reconsider the Yankee externality in comparison with the southern holistic interest in the person, when this is achieved of course, as in this story.

Kazan in this film must have had a hilarious ball, by miss- arranging all social preoccupations and certainties, north and south, to add at the end that people need love as they also need the law.

An elaborate, well articulated with real issues and dilemmas film by the genius director Elia Kazan, whose every film is a host of critical social matters, demanding philosophical examination.

Accept who you are...
I love the fact that when she came back home that she didn't hide her heritage. Pinky, who called herself Patricia when 'passing' as white. Came back to her hometown to see her grandmother and a patient, (who is her grandmother's employer) tells her to accept who she is. And that the black side of the town needed medical attention,and schooling young,black women to
become nurses also.

TO THINE OWN SELF BE TRUE...
This is a landmark film, as it tackled issues that were considered to be taboo at the time. Race hate, miscegenation, and passing for white are some of its themes. Unlike "Imitation of Life (1934), which in its own fashion dealt with the themes of passing for white and the unequal opportunities afforded blacks, this is not a sentimental tearjerker of a movie. Rather, there is an undercurrent of anger and righteousness that permeates it, and rightly so. It is a hard edged, no holds barred type of film. There is nothing sentimental about it.

Controversial in its time, the film is about a young bi-racial woman known as "Pinky" (Jeanne Crain), sent up north by her southern granny (Ethel Waters), so that she could receive an education. While up North, she begins passing for white inadvertently, as that is how she is apparently perceived, and makes no move to correct that perception. She studies and works hard, becoming a nurse. She then meets white Dr. Thomas Adams (William Lundigan), and they fall head over heels in love. He has no idea, however, of her background and knows her as "Patricia" not "Pinky".

Pinky, leaving him behind, returns home to the South one last time to confront her past and her personal demons. She ends up meeting bigotry head on, as down South where Pinky is known she is treated as blacks are treated, and does not like it one bit. It hardens her resolve all the more to return North and continue passing for white. She would like nothing better than to put as much distance as is possible between herself and her racial heritage. Helping out her grandmother, however, she ends up playing nurse to Miss Em (Ethel Barrymore), a crotchety, crusty, and ill eighty year old former plantation owner who has come down on hard times.

When Miss Em dies, she wills her estate to Pinky, creating a controversy that rocks the town when the will is challenged by distant relatives, the Wooleys. They are outraged and claim that the "colored girl" used undue influence over the elderly Miss Em. This galvanizes Pinky to stand up for her rights, enduring a mockery of a trial. Moreover, when Dr. Adams comes looking for her, Pinky finds herself taking a position with respect to their relationship that is a revelation to herself.

This is a film that at the time was highly controversial, due to its themes. It was a film that was certainly daring for its times. Why they cast a white woman for the part of a biracial character may seem puzzling to those of us in the twenty first century. I presume that this casting was mandated because there were love scenes between Pinky and her fiance, Dr. Adams, and this type of scene would have been forbidden in those days, if the actress cast for the part of Pinky were other than white. While a bi-racial woman was cast for the role of Peola, the woman who passed for white, in "Imitation of Life" in 1934, it was a safe bet to do so, as she had no love scenes with which to contend. Notwithstanding the casting of Jeanne Crain in the role of Pinky, this film was cutting edge stuff in 1949.

Wonderful performances are given by the entire cast. Ethel Waters, Jeanne Crain, and Ethel Barrymore all received Academy Award nominations for their roles in this film, though none of them won. While Jeanne Crain's casting was a stretch for her as an actress, she did give it her all, letting the viewer sense Pinky's discomfort and angst over the racial divide. Ethel Waters is superb as the hard working, humble soul who did the best that she could for her beloved Pinky. As the imperious Miss Em, Ethel Barrymore was perfectly cast and gives a superlative performance, imbuing the character with a humanity that a lesser actress may not have. All in all, this is a movie that lovers of classic films should enjoy and one that should be in any serious movie lover's collection. ... Read more

Amazon.com essential video

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 cowrote 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 ... Read more

Reviews (125)

Three-Dimensional Menace
It is as difficult to describe this film as it is to forget it. The only film directed by Charles Laughton, with James Agee's screenplay based on Davis Grubb's novel of the same title, The Night of the Hunter explores the ageless conflict between pure goodness and pure evil. The former is represented by the two Harper children and especially by their resolute defender, Rachel Cooper (Lillian Gish). Pure evil is represented by Harry Powell (Robert Mitchum), a psychopath who claims to be a preacher. I can think of few other films in which script, direction, acting, cinematography (Stanley Cortez), and musical score (Walter Schumann) work so well together. Credit must obviously be shared. What saddens me is the fact that Laughton was so discouraged by initial reactions to the film that he never directed another. The plot is rather straight-forward and consists of three phases: Powell's arrival and subsequent marriage to widow Willa Harper (Shelley Winters); her death and the gradual revelation of Powell's true nature; and finally, his pursuit of Rachel Cooper and the two children after they flee from him. It would be a disservice to those who read this brief commentary for me to say any more about the plot.

Paradoxically, this is among the most beautiful and most frightening of films. Mitchum's portrayal is among his greatest performances. According to some who were associated with the production, he also agreed to direct Billy Chapin and Sally Jane Cooper because Laughton despised child actors. If true, Mitchum reveals an off-screen talent I wish he had developed further. For me, the only problematic performance is Gish's. Perhaps it is because it seems (to me) derivative of an acting style more appropriate to a previous era when she was featured in so many other films. Those who have not as yet seen this film are urged to do so. It is in so many ways an "original" which deserves the acclaim denied it when first released in 1955.

Deserves to be ranked with "Citizen Kane."
Charles Laughton, one of the greatest actors of Hollywood's Golden Age, made his directorial debut at age 56 with "Night of the Hunter." The film flopped so badly with critics and public that Laughton was never allowed to direct a movie again. It's hard to tell which is worse: the tragedy for the cinema, or the idiocy of the critics and the public. "Night of the Hunter" deserves to be ranked with "Citizen Kane" and the works of Pabst and Murnau among the great Expressionist film masterpieces. Its artiness probably meant it would never be a great popular success, but it deserves to be more than a cult favorite. Its combination of stark realism and extreme stylization, of magical beauty and Hitchcockian suspense, has never been replicated in any other movie. The performances are all superb and, in the cases of Robert Mitchum and Lillian Gish, extraordinary. Mitchum pushes the envelope just enough as the evil preacher Harry Powell, giving a performance that might seem way over the top if a scene were taken out of context, but which masterfully evokes diabolical menace as a whole. As for Gish, she creates an unforgettable character in Rachel Cooper, whose prim, strict exterior barely conceals a combination of wisdom, backbone and moral splendor rarely found in the cinema. Shelley Winters is also very fine as a woman blinded by desire and guilt. Too little, I think, has been said of the supporting players in "Night of the Hunter." Billy Chapin is very touching as the little boy Powell menaces, but the standouts have to be Don Beddoe and Evelyn Varden as Walt and Icey Spoon, a sort of Richard and Hyacinth Bucket gone to seed. Icey is all idiot compliance with the loathsome Powell, taking his protestations of piety at face value while imagining herself the arbiter of morality and common sense. Walt, her henpecked husband, occasionally voices doubts but is quickly brought into line. So when Powell is revealed as the murderous monster he is, who leads the lynch mob? Why, Walt and Icey, of course! There are hundreds and hundreds of Walts and Iceys in small-town America. I know that firsthand.

Surreal Mitchum
I've always been a fan of Robert Mitchum's stoic style. But he's anything but stoic in this very unique film. The atmosphere created by Laughton's direction - and apparently his rewriting of the script - is as surreal as it gets. Once you realize you're watching an adult fairy tale about good and evil, you'll be mesmerized. This film is one artist's only offering, and worth the time to watch.

Sappy & crappy.
I adore Robert Mitchum and I do not disagree with much that has been written here, but the religion was laid on with a trowel. So hokey. So corny. The angelic voices, the hymns...Lillian Gish looking up to heaven...please! What I thought would be film noir turned out more like a rally for George Bush Jr.!

"I'm out of patience children. I'm coming to find you now."
Charles Laughton's "The Night of the Hunter" is one of the most notable atmospheric films ever made. One wonders what other works may have followed had Laughton decided to further pursue a career in directing. The dream-like visual imagery he employed in "The Night of the Hunter" is groundbreaking, beautiful, haunting, and breathtaking all at the same time.

Reverend Harry Powell (Robert Mitchum) arrives in a small town one day with the letters H-A-T-E and L-O-V-E tattooed on his knuckles. Powell has learned of $10,000 in hidden money which was stolen by a man who used to live in the town. Seeking out the man's widow, Willa Harper (Shelley Winters), Powell hopes to find the hidden money and keep it for himself. The widow's two children, John (Billy Chapin) and Pearl (Sally Jane Bruce) know the location of the money but refuse to tell the mysterious preacher where it is. So begins a cat-and-mouse game between Powell and the children.

Laughton was ahead of his time in making such effective use of visual imagery. The shadows and lighting he employed added deeper layers of meaning to the proceedings. Especially noteworthy are the moments in the bedroom set and the shot depicting Willa Harper's final fate - both scenes still astonish to this day. When the children drift down the river while escaping from Powell, the wonder and darkness of nature is filmed in so graceful, mysterious, and absorbing a manner that one is reminded of the techniques of modern-day directors Terrence Malick and Tim Burton. Mitchum is amazing in what is easily the best performance of his carreer. Child actors Chapin and Bruce are also great as is Winters in a tragic role. The inclusion of screen legend Lillian Gish in the second half of the film is only icing on the cake for an already impressive production. ... Read more

Reviews (10)

Overall Faithful Production
Although there are some historical inaccuracies [Napoleon did not surrender his sword to Desiree, and some other small "enhancements"], and Jean Simmons is something of a drawback to the film, it's definitely worth watching. Marlon Brando's performance manages to capture the historical idea of Napoleon very well- the great intensity of his personality, the underlying brilliance and insatiable ambition. Napoleon is both repellent and fascinating at the same time. One can understand how, at his best, he hypnotized almost the whole of Europe. But he is perfidious also, dismissive of the death and destruction he caused on his way to accomplish his aims. Really, the character of Napoleon and Marlon Brando's rendition of it is the only reason to watch this film. Jean Simmons' Desiree is lovely and winsome, but kind of vapid. One wonders what Napoleon and Bernadotte saw in her. Michael Rennie's performance is very good in his role as Bernadotte, and he is not overshadowed at all by the strength of Brando's performance. His scenes with Napoleon are wonderful. Until something better comes along [unlikely...] this is the one to watch for a period piece about Napoleon.

Overall worth watching
Having read some of the other reviews of this movie I felt compelled to submit my own. I have long been fascinated by Napoleon and I have read and watched just about everything on his life that I can get my hands on. I found Brando's portrayal of Napoleon subtle and powerful. After having seen at least a half dozen different actors play Napoleon in various movies, Brando's has always stood head and shoulders above the rest to me. The story is not entirely accurate, but all the main elements of the story are pretty close (except Napoleon surrendering his sword to Desiree). The costumes and sets are outstanding in a way that seems to be captured only in old movies. This is not an in-depth analysis of Napoleon's life, rather, it focuses on Desiree, a one-time fiance of Napoleon. While that story is interesting, I find myself waiting for the next Brando scene. Brando does a magnificent job capturing the eneregy and confidence of the young Napoleon, and the fatigue and desperation of the defeated Napoleon. Brando's scene when he considers Bernadotte's request to renounce his French citizenship is brilliant. The movie is almost worth this scene alone.

The Things He Did For Love?
This was a great historical romance set amongst the ambitions of one man and the love he let get away. Get out your kleenex before you watch.

What a terrible film!
Hard to believe that anyone could take this overly romantic nonsense seriously. It has little to do with history, even less with cinema. Most of the budget seems to have gone on the stars - the scenery looks cardboard, the costumes are probably left over from previous films, there is no sense of the era, much of the acting is way beyond being merely wooden. Lots of stiff, unconvincing dialogue - little spectacle (flags moving across the screen represent a battle). Of course, the film is based on a best-selling novel of the 50's and, by rights, should have focused on Desiree as played (uncertainly) by Jean Simmons. But the casting of Marlon Brando as Napoleon throws everything off balance. I have read a fair amount about Napoleonic history but none of those accounts revealed that the Emperor mumbled like a method actor. Indeed, Brando seems particularly uncomfortable with both his role and his costumes. Similarly, the ever-stiff Michael Rennie is...well, stiff. On the other hand, Merle Oberon was an inspired choice to play Josephine - if only they had remembered to write a part for her to play. The whole thing looks cheap and not especially cheerful. Napoleon deserves better. So does anyone who tries to watch this film.

Very entertaining historical romance
I don't know a whole lot about Napoleon and his history, but I found this film thoroughly enjoyable. I was sitting around this afternoon and caught it on tv. Marlon Brando's performance as Napoleon really captivated me and I couldn't bring myself to change the channel so I ended up watching it all. It was very interesting. He was always in love with one-time fiancee Desiree but she is married and shows no intentions of betraying her husband. The scene in which Desiree's husband confronts Napoleon because he wants to renounce his citizenship and claim the Swedish throne is very striking. Excellent acting by everyone. There were a few things they never went back into, like we never see much else of her son. And they never say whether she cleaned up her Royal Princess act or told them to stuff it. Overall, I found this movie to be very entertaining. It's one of those rainy day historical romance classics. ... Read more

Reviews (4)

good cast
I know Bette Davis was only in a small part of this movie but she was in it and that was all I needed to like the movie. And it is a good movie with a good cast.

Bring the Kleenex
It's a great Sunday afternoon movie. In reality, the performance of Shelly Winters is the best part. Since Gary Merrill and Bette Davis were married when this movie was made, there had to be some scenes with them together. But sadly, those scenes were not the best ones.

But if you are a Shelly Winters fan, this is a must see. If you are a Bette Davis fan, you will be disappointed.

Don't Bother With This One!
This was a very BORING film. Bette Davis's picture shouldn't even be on the cover because she's in the film for about a minute in a half! Okay, maybe alittle longer than that but not by much! Don't waste precious time on this one when there are so many really good ones to see.

Slow Paced - Non-typical Bette Davis Film
Bette Davis plays the role of an invilid. Her part in the film is very short and at the end. I do not recommend for those primarily interested in seeing Bette Davis in a leading role. ... Read more

Reviews (8)

Great Musicals
This film was fun and delightful with a great cast. It should be transfered on to dvd in widescreen.

An uplifting movie - Reeves before he became Hercules
I enjoyed this movie, even though it does take some cheap shots at the musclemen and the health & fitness movement.Jane Powell and Debbie Reynolds are delightful in their roles and their voices are at their peak. You will love hearing them sing.Edmund Purdom and Vic Damone add some worldly class to this film. Reeves definitely has presence here and it's easy to see why he became a star many years later. It was this movie that landed him the role of Hercules.At one point in the movie, Edmund Purdom lites up a cigerette and Reeves pulls the cigarette out of his mouth and says; "What are you trying to do, suffocate us?" In real life, Reeves was opposed to smoking.The movie also has a Mr. Universe contest which Reeves wins after successfully completing a continental clean and press of 400 lbs to break a deadlock with Lynn Lyman.Interesting because in real life back in 1948 Reeves was tied for first place with former weightlifter John Grimek in the Mr. Universe contest in London, England. Grimeks athletic prowess broke the tie and gave him the win, even though Reeves had the best physique.Athena is a good movie. It's a funny, clean movie. Has great songs by Damone, Powell and Reynolds and features many of the top bodybuilders of that era. Something for everybody. I hope they put this one on dvd.

Jane and Debbie sing up a storm!
Jane Powell and Debbie Reynolds star in the delightfully offbeat musical comedy ATHENA.

Athena (Jane Powell) and Minerva (Debbie Reynolds) are two sisters whose grandfather (Louis Calhern) owns a popular health shop. The family is heavily into fitness and the supernatural.

The sisters fall for worldly, sophisticated men, but the family forbids the marriages, as the stars say that they will not be happy. The sisters must fight to stay in control of their lives.

Filled with swinging songs and rousing dance routines, ATHENA is a charming musical from the MGM studios.

A muscle musical
My wife and I were watching this movie just a few days ago. Debbie Reynolds and Jane Powell are delightful. Music fans will enjoy Vic Damone.Although a far cry from "Singing in the Rain" and "7 Brides for 7 Women", this movie is moderately entertaining.For bodybuilding buffs, it's ridiculous to see Reeves get pounced by scrawny Edmund Purdom and Dick Dubois, a former Mr. America, actually at that time, current 1954 AAU Mr. America crawl away in fear from Damone. This movie didn't do much to inspire faith in bodybuilding or in the health movement. The movie does feature some of the greats of the day. Besides Reeves and Dubois, Jerry Ross, Mr. California, Zabo Koswieski, Mr. Abdominals and others.Nevertheless, it's a fun movie even if it did take a few pokes at musclemen.Would be nice to see a remake of the movie. Problem; who would or could play Reeves? Steve Reeves was a man of real substance. Most of the top champions of today are real substance abusers.

The worst movie ever made
I can't agree with the other revues. I am a big fan of MGM musicals and I love movies such as "Singing in the rain" and "Seven Brides for seven Brothers".

But this movie is unbelievably bad : The plot is totally uninteresting and univolving; the playing is weak and the songs are boring (except "love can change the stars")

This is one of the worst movies ever made ... Read more