Heartbreak Motel

The Big Sleep (1946)

John Holmes — Mon, 23 Jan 2012 14:42:03 +0000

Directed by Howard Hanks
Written by: William Faulkner, Leigh Brackett, Jules Furthmann, based on the book The Big Sleep by Raymond Chandler
Cast: Humphrey Bogart, Lauren Bacall, John Ridgely, Martha Vickers,
Photography: Sid Hickox
Music: Max Steiner

114′, B/W, U.S.A, 1946

Adapting Raymond Chandler’s confusing and hardboiled book is not for the faint of heart. Chandler’s novel is known for it’s complexity and particularly grimy atmosphere but Howard Hanks delivers, casting the hot couple of the moment (middle 1940s): Humphrey Bogart and Lauren Bacall, who were just married and ‘hot’ in the press.

The script follows the book closely, even in most of the dialogue and setting, and that can be confusing as there are a lot of details in the investigation that are too literal to be translated to the screen. But most of the plot is layered on the film. The obvious enhancement is the Bogart-Bacall romance, emphasized on screen via some great dialogue and chemistry.

The more sordid details of the book, however, are smudged because of the restrictions of the Hays Code, so the more pornographic details are laid out like the nakedness of Carmen, the nymphomaniac daughter of General Sternwood, or the plot involving obscene book trafficking. The ending differs from the book also, providing a more easy resolution than in the novel, wich is a good and bad thing, having read the novel you can’t just miss the thrill of the final pages, because you are fooled the entire time trying to figure out the pieces by yourself. The book’s resolution’s simple, yet more satisfying to this particular story.

Bogart is splendid as Phillip Marlowe, the always-right and morally-aware detective that in the book is more hardboiled and cynical. On the screen, Marlowe is the ladies man, literally every girl in the movie tries to have her way with the gentleman, and Bogart delivers a fine performance including some physical treats that he adds to the character for more realism. Bacall as Vivian, the second Sternwood daughter, is the eternal femme-fatale with her harsh cocktail voice and wide lips that seem to engulf you with every word expelled. It is somewhat obvious the influence her off-the-screen husband has on her, visible in the kissing scene in the car where her wide eyes are as passionate as a woman in love can be.

Hanks cinematography is precise and depicts the gritty San Francisco of the war-era very precisely. The scenes are tight and follow one another without any breathing space, except for the development of the romance between the two leading characters where he allows himself and the actors a bit more spice and time.

Because this is a story about the process of an investigation rather than a film about who is the killer, it may seem confusing but reading the book before and allowing yourself to embrace Chandler’s brilliant and intelligent writing gives you a great advantage to appreciate this noir classic, charged with sexual innuendo and flair.

The most common version of the film was released in 1946, there is a pre-release version made in 1945 that was just released in 1997 with some different scenes and a more relaxed pace. Therefore, the version you’ll likely to found is the later 1946 version. There are numerous stories regarding the production of the movie, like the one involving the identity of one of the killers. When the production contacted Chandler to ask him this important detail, the writer didn’t even know. And it’s better that way – in life some things are better left explained.

The movie was made during the war effort so it features a lot of gimmicks from the era like the slang used at the time, rationing stickers and so on. The studio wanted more war-related films to be released before the war was over so they didn’t loose the momentum so The Big Sleep was screened two years after the end of the conflict.

My advice is to read the book first, since most of the surprise and clever writing are better in a more literary form, then go back and watch the movie and you’ll still enjoy the first story of Phillip Marlowe, private investigator.

Heartbreak Score:

Where to get it:

My DVD copy is the european one, even the menus are in english – odd for a Portuguese branded cover. No extras, but you get the film at a cheaper price, since there are no other versions. Get it:

More Screenshots:

The Big Sleep (1939)

John Holmes — Wed, 04 Jan 2012 19:59:57 +0000

Written by Raymond Chandler
First Published in the U.S. in 1939

Film Noir owes as much to hardboiled crime fiction as to the era which it is settled, the beginning/ending of the second world war, the economic resection and rationing, German immigrants coming to the US and bringing with them the poetry of light and shadows. Film Noir owes to German Expressionism a huge amount of its visual storytelling. But the setting and plot begins in the late 1930s with the rise of the more hardcore crime fiction, a reflection of the contrived times full of crime, darkness and economical despair.

Raymond Chandler begins to write because he needs to earn his living, after being fired, and The Big Sleep is his first fiction book to be published, a landmark that defined most of the hardboiled genre of crime fiction, the book that introduced us to the iconic private investigator Phillip Marlowe, portrayed in film as the eternal lonesome drifter Humphrey Bogart.

The novel is a hard read, full of twisted characters and a particularly difficult plot that unfolds in a clever narrative. The dialogue is full of the era’s characteristic slang and half-truths that don’t do much to explain who is the killer; as the plot enfolds you become as puzzled as ever and Chandler masters this technique using Marlowe’s wit and sarcasm. The Detective never seems to loose his game, even though he can get wrong, even though he is never the owner of the truth.

The plot opens right in your face as dying General Sternwood hires Marlowe to find out who is blackmailing him. Just moments after accepting the job, the detective meets the General’s two daughters and begins to get involved in their little secrets. Of course that the original mystery is just the boiling start to a huge conflict that involves gambling houses, love, blackmail and a missing ex-bootlegger that seems to be the key of the crime, but even this detail might not be the missing part of the puzzle, as there is too much that amounts to betrayal and crime.

The dialog is superb and the Los Angeles that Chandler writes is alive with its dark corners and shady roamers; there is no shame in describing the more sordid details of the crimes that fill the pages. Phillip Marlowe is the central figure that unites the bright side of the law with the darkest players, always seemingly in control of the situation and as hardboiled as ever. In fact, Marlowe is a rock, never forgetting his ethics, a different kind of romantic.

Even though is a really tough read, The Big Sleep is essential, a challenging plot that pretty much invents the Noir genre, if we can put it that way. It will provoke you with its twisting quirks, dry details and hard to swallow moments. It will take you to the darkest corners of the human mind at its most survival needs, and yes, literature does that to you.

On its darkest side, the book is probably too smart for everyone, but even that is not an excuse, the setting and atmosphere pretty much ask for it. So do us all a favour and read the book first, you’ll live under Marlowe’s shoes for a while. Who wouldn’t want that?

This is part of a two article series, first we see the book then we read the movie. Or is it the other way around? Anyway, stay tuned for the second-part were we dissect the movie (the Howard Hanks version).

Where to get it:

Mine is the Penguin Modern Classics trio comprising The Big Sleep, Farewell my Lovely and The Long Goodbye. It’s a great starting point both for Marlowe and Raymond Chandler. As with all the Penguin editions, this is pristine, great paper and handling, even though it has 3 novels in it doesn’t feel too uncomfortable to read. Get it here: The Big Sleep and Other Novels (Penguin Modern Classics)

The Spielberg Face

John Holmes — Sun, 18 Dec 2011 23:35:03 +0000

Here is an interesting essay dedicated to one of the most imitated Cinema artifices, populated by of the master of melodrama Steven Spielberg. Most cult cinephiles disregard his movies as excessive hollywood commercialism, even myself, but you have to admit the obvious, the guy is a master on heart and audience manipulation and his stories are deeply rooted in the Hollywood history.

It would be much more interesting to focus on these close ups in the history of Cinema as a medium of portraying emotions. There’s a brief mention of Carl T. Dreyer’s classic “The Passion of Joan of Arc”, one of the most beautiful examples of portraying deep emotion trough the actor, but there should be more depth to it. Nevertheless it’s a good watch.

This also gives me a great idea for a special about the close-up and its uses in the history of Cinema, let me cook that for a while.

P3rsp3ctive (2011)

John Holmes — Thu, 22 Sep 2011 12:13:31 +0000

A tribute to the Cyberpunk genre, Perspective is a short film made by amateur director Mehmet Can Koçak. It’s interesting use of first-person perspective to tell the story is great and fits with the themes and overall atmosphere. Some shots could be polished and there could be some extra minute or two to resolve the plot but this is a great effort so grab a seat and watch this great homage to our favorite science fiction genre.

Bummer Summer (2010)

John Holmes — Mon, 06 Jun 2011 17:34:04 +0000

Written and Directed by Zach Weintraub
Photography by Nandan Rao
Cast: Mackinley Robinson, Zach Weintraub, Julia McAlee
B/W, U.S.A, 2010

Official Website

Few movie directors can be proud of achieving realism and artistic perfection. Zach Weintraub does this in his first feature. Shot on a ridicule budget and using a single DSLR camera that is perfectly balanced by Nandan Rao’s perfect black and white photography and using pretty much no written dialogue, Bummer Summer is a delicate surprise, one that uses it’s handicap to produce a beautiful cinematic experience while telling a simple story that reflects nowadays youth much more than any other stylized or big budget film.

This is the story of two brothers during the big summer vacations, in a town where nothing much is happening. There are no adults in the film. Isaac is the younger brother and happy with his girlfriend. His brother Ben returns home after graduation and the two go out for a folk concert where the singer catches Isaac’s attention. She’s an ex-girlfriend of his brother, Lila, and the meeting of the two former lovers might spark a little flame. They plan on a road trip and invite Isaac to come but he feels obligated to stay with his girlfriend. But of course that he changes his mind, caught in both a spell of attraction and idea of getting away from the boredom. He breaks up with his girl and meets the two, embarking in a road trip to see the world’s largest maze.

Simply, Bummer Summer can be played as a road trip film, but it’s quite more complex than that, since the relationships between the older and younger brothers change during its course, the apathy of a long boring summer portrayed in the simple sighs of being young and having everything and nothing to do.

Instead of just filming space and time, like most realist features that wait for the perfect moment to be caught, Weintraub and Rao create the situations that make the story by playing the movie like they’re playing their lives. Although this is not necessarily felt in the film, as in a stylized documentary – it’s the complete oposite, Bummer Summer captures the eternal dirty innocence of youth as a new-retro style of making films: using the inexistent production and gear to its advantage.

It’s a difficult task to achieve this level of naive perfection, naive in a sense that there are no artifices here, even if the photography is so breathtakingly gorgeous. The soft love triangle plays clumsily in the two brother’s cluelessness, their motivations are uncertain yet they know what they seek: an escape. In this sense, Lila is the ticket they need, she plays her game unknowingly and detaches herself from any feelings.

But the two brothers aren’t sure either. They make no advances nor they exact their feelings, if there are any, there are no conflicts besides the utmost problem that makes the youngsters embark on a journey to the unknown: any place is better than home.

This film was screened off-competition on IndieLisboa’s 2011 edition. There are no DVD versions but you can check the film’s website and facebook page to catch up and make inquiries. But do inquire, this is a hidden gem that, with the right amount of praise, will become a cult favourite. Beautiful!

Screens courtesy of Bummer Summer’s facebook page

Docs for People 2: Free Fruit for Everyone (I Am Los Angeles)

John Holmes — Mon, 23 May 2011 18:57:51 +0000

I Am Los Angeles is a series of short docs about L.A. and real people. Beautiful short docs blessed with the perfect dose of sunlight. Visit their website for more or head to the Vimeo group Documents for People for other short stories.

Los Angeles, the film entertainment capital of the world, is known as a place of glitz and glamour, palm trees, and living the high life. Hollywood, after all, is a place where dreams can come true. But is also a place where many dreamers come to meet their reality. Some succeed, but far more pack up and leave for their hometowns with 15 minutes of fame and empty pockets. The streets of LA are tough, with high crime rates; and traffic on the overcrowded freeways is the country’s most notorious.

Like many cities, Los Angeles has become a place where people with many backgrounds, cultures, interests, and lifestyles are constantly coming, going, and changing. Life in this particular city of the great American west provides the freedom to embrace your own identity and way of living. In the neighborhoods of Los Angeles—from the streets of East LA to the spectacular Hollywood studios, through gritty but blossoming Downtown LA, past the perfect lawns in Beverly Hills, and along the wacky Venice boardwalk—you’ll encounter unique characters from all walks of life.

My Joy (2010)

John Holmes — Mon, 24 Jan 2011 16:50:14 +0000

Original Title: Schastye moe
Written and Directed by Sergei Loznitsa
Cast: Vlad Ivanov, Viktor Nemets, Olga Shuvalova
Colour, 127 min.
Ukraine, 2010

iMdb | Wikipedia

Director Sergei Loznitsa’s first fiction is a deep journey through the alienation and Soviet remains on the remote population around Russia’s deepest villages. It’s also a journey of a man, Georgy, that gets lost in his cargo truck deep into the wilderness unable to find his way, just like the characters that he encounters, filled with desperate and starving violence and psyche. Using dark humour or strict and unemotional real-life situations, Loznitsa manages to build a powerful document of horrible beauty, in a sense, it’s a documentary that he cannot document, that’s why it’s fiction. As he puts, “Everything we see in the film, happened in the film, and everything that happened in real life did not happen in the film.”, responding to my question about what’s indeed real about My Joy.

The director’s approach to narrative is reminiscent of the Soviet film school, after all he attended the prestigious Gerasimov Film School, the oldest film school in the world, where masters like Tarkovsky, Eisenstein or Sukorov developed their craft; here is a filmmaker experimenting with the raw episodes and depth of everyday characters filled with different quirks, and here is also a filmmaker with a strong sense of narrative cinematography, using his experience as a documentarian. This experience provides us with such over-the-top sequences, notable for their expert craft as well as for their extreme boldness.

It’s Loznitsa’s dance, and we are the receptacles of his obsession, as the violent nature of the characters and situations are played to full realism without loosing their fictional appeal, and that’s one of the quirks of My Joy, the director’s ability to pull in and out of conventions to create his own, without providing a clue; it is not his purpose to create beauty but to confine chaos.

One that watches My Joy for a conventional narrative will be deeply perturbed, for life, because Loznitsa abandons his main character, focuses on other aspects of the same pathos, given to us in different episodes, perhaps of different timelines, and even manages a unique feat: to create empathy for characters we’ve only met 5 seconds ago. It’s not just about the pure realism that the film contains, or the violence that, as Loznitsa tells, is not as bad as the real deal. But it doesnt even matter. It couldn’t be a documentary. It can’t even be fiction, it’s the director’s choice.

My Joy revolves your perception by being hauntingly difficult, Loznitsa can be proud of his achievement, few directors can create such a barrier between the film and the audience and create an empathic response in the process, it certainly can be a way of the Russian film school but in Loznitsa’s case it’s a style that is clearly developing and we can only be amazed and truly fornicated by this wild, bold and violently beautiful film. Not for everyone, it’s a tough chew, and a proud one. And when it makes you laugh with the bizarre situations and dialog, it’s a dark laugh, one laugh per each drop of blood that will coagulate after each thump in the head you hear in the film. And there is no soundtrack, this is not entertainment, this is Cinema.

Heartbreak Score:

The film is not yet available on DVD.

This film was screened as part of a special retrospective dedicated to Sergei Loznitsa in Lisbon, courtesy of Zero em Comportamento, wich also conceded me an interview, wich I made for the urban online magazine Rua de Baixo.

Images courtesy of Loznitsa’s website, promotional shoots.

Docs for People 1: Scrapertown

John Holmes — Sun, 28 Nov 2010 22:34:59 +0000

Documents for People# 1

Scrapertown, by California is a Place

California is a Place are putting some gorgeous docs out there, short, human, and simply beautiful. Scrapertown is a cute little tale of a group of young folks that created a club for scrapper bikes, complete with a king and a strict membership, that requires the bike to be approved beforehand. Complete with a beautiful soundtrack, Scrapertown is one of their best efforts. In fact, all of their docs are simply stunning. Be sure to check their website for more.

What is unique about their way of crafting these short wonders is the way they shoot the subjects, the scenery, in a heartfelt way; curious and serene, impeccable. I am sure this is a new voice of documentary, one that does not compromise the beauty with the often overrated way of exaggerating the human nature of the real story.

Drea and Zack document small stories about California, their surroundings, the people. Their unique stories are also human stories, about the old and the new. Here’s their bio, their own words:

California is loaded. From Disneyland to farmland, we’ve got Scientology and superstars, Silicon and silicone, crips and bloods. The border. Krumpin’ Clownin’ Jerkin’. The surf and the turf. The boom and the bust. California is humanity run amuck and then packaged, branded and sold. California Cuisine, California Love, California Casual, California Gold, California Girls, and of course, California Dreams. If it exists in the world, it exists here and it does so with pizzaz.

Obviously, we love this stuff. That’s why we’re doing this project. Simply put, California is sensational. And the closer we look the better it gets: words and images, stories and songs, opinions and ideas. This project is ongoing. We hope you like what you see and say so. We plan to post often. So until that day, when we finally float off into the Pacific, California is a place. Stay tuned.

Top 11 Weird, Strange and Best Song Versions

John Holmes — Sun, 21 Nov 2010 12:41:59 +0000

There are tribute bands and there are bands that earn their gold doing miserable and sloppy versions of popular songs, but countless covers abound that are weird and truly beautiful. You probably didn’t know most of these are actually versions so be prepared for a top 10 of the most underrated and bizarre covers ever. Start the journey!

11. Ken Boothe – Puppet on a String

There are times when a version really out-dates the original, and this is one of the cases. The first album from the Jamaican Ken Boothe features great Jackie Mittoo on the piano (and arrangements), and is a landmark of the Rocksteady genre. Sure, Jamaica was overwhelmed with North-American Soul and most of the hits from the 60s and 70s were covers, done in their perfect sun-kissed way. Sandie Shaw was no hit-wonder but this was her breaktrough, winner of the 1967 Eurovision contest. Weirder? Paul Mariat’s instrumental.

9. Devo – Satisfaction

Are We Not Men? No, they aren’t. Devo stands as the true weird band. Their mythology is as urgent as ever. They’ve done some pretty originals themselves but this version of the classic Rolling Stones tune is too wonderful to be put to words. The groove is tight, hints at some sunkissed reggae and turns the tune into a really desperate and insane scream. The way is should have been, initially.
There are also some other brilliant versions of this, Cat Power, Britney Spears (???) and a really great one by David McCallum.

8. Natacha Atlas – I Put a Spell on You

Really, the Screamin’ Jay Hawkins classic is one of the most haunting songs written, reportedly recorded over a night of partying and girls at the studio so Hawkings could record his spooky voice just like it sounded live. The Natasha Atlas version is something that words cannot describe, truly bad vocal rendition (la la la la la la….), interesting instrumental part (that has nothing to do with the original), some record scratching (wtf!!!), really overrated. Still it’s the weirdest version of the original, horrible or not.

There are truly bizzare versions of this song, but Atlas version outrates them all for being the stupidiest. The best rock cover is Credence Clearwater Revival’s rendition, from their first album. Arthur Brown’s version is wonderfully haunted as well, Buddy Guy’s Santana produced cover is also great, although a bit too guitar-wanking for my tastes. Speaking of guitar-wanking, David Gilmour also has a weird version of this, as well as The Animals. Other known version is by Marylin Manson, but you knew that.

It’s Nina Simone that tops the charts for making it her own, as well as everything the lady touched. Gold.

7. Jane Rossi – In the Year 2525

You know, I just had to have some italo in this selection. The Zager & Evans 2068, sorry, 1968 song is a truly weird composition, well know but still underrated in its haunting vision of the future. Talk about cyberpunk, man. Anyway, there are some horrible versions of this, Ian Brown has made it kind of cabaret, Fields of Nephilim turned it into a dark metal ensemble, Visage made it even cheesier, Venice Beat just simply fucked it up for the new millennia (don’t listen to it, you’ll regurgitate), Pete Stark does it the same way but even cheesier than Visage, Mystic turned it into a good Disco party, and Kitbuilders… well, fuck, just listen to it. But this Jane Rossi version exhales the sweet cheese that was Italo and Hi-NRG back in the day, making it happier but haunting as well. And bizarre. And with a great instrumental bit that makes 98% of the song. But even weirder is Robin’s 1969 chord-by-chord Finnish version, you just have to listen to it. And if you’re into translations, check up The Sounds rendition. Bliss.

6. Colorado – California Dreamin’

Okay. Disco. When you think of Covers and Disco, it’s Boney M you want. They have versions for almost everything but nothing like the Mamas & the Papas original gospel. Shame that this is only the Top of the Pops short version, on record it sounds more epic and even cheesier, the kind of good cheese. Rocks every dance floor. It’s not Santa Esmeralda, by the way. Heck, they’re British. This is taken from an album of covers that include a disco medley to Rolling Stones songs. Bliss!

Now for even weirder versions. Japan’s Hi-Standard wank this beautiful song into an hardcore bowl of screams. Just plain vomit. Life-time sentence for them. Of course, Beach Boys have a hit version of this, but check out Michael Chapdelaine’s finger-picking wonder, all-instrumental. Gorgeous. Even more perfect is Mr Bobby Womac’s version, that almost nears the original in its beauty. But it’s Jose Feliciano that rocks the bunch; sings it in a desperate tone, backed up by some gorgeous strings. Heaven. Check out the Carpenter’s rendition, just for some Karen caressing.

5. Carlos Bastos – Hey Jude

Pretty sure you haven’t heard this. Beautiful version of the ever-so-popular Beatles classic in glorious Fado. Carlos Bastos sings it in an ironic bad english. Yes, it’s a joke. Bastos has a version of (I can get no) Satisfaction as well. This is pure delight and a great arrangement by António Chainho on the Portuguese guitar. A really underrated classic. The Temptations have a really weird and wonderful vocal rendition to the classic, these guys could do whatever they wanted with their voices.

4. Goldfrapp – Yes, Sir, I can Boogie

Everybody knows that the Eurovision hit by Baccara is a beautiful love boogie, it doesn’t need any versions. But as scarse as they are, each of them is intensely exciting. Goldfrapp’s thing turns the boogie into plain raw sex, has a strong build up and never fails to be as sexy as the original, in it’s own peculiar contemporary way. Forget about Denice French’s eurodance cover or Sophie Elis Baxtor version. Goldfrapp is the true thing.

3. Flying Lizzards – Money (that’s what I want)

More bizzare than this version of the Barret Strong’s 1959 classic is the way this was a new-wave hit. Flying Lizards were a truly weird ensemble dwelling on minimal and experimental music. This version is tasty pop, with a razor sharp experimental edge, perfect for the new wave crowd. Check out their version of Great Balls of Fire, also bizarre. Also, check out Led Zep’s rendition, that doesn’t really sound anything like the original or Zep.

2. Iggy Pop – Family Affair

A hidden gem from the stooge, the original is no less weird and beautiful, in fact, it’s one of the greatest songs ever. Sly Stone recorded this for the 1972 album There’s a Riot Going on and his original is no less muddy and moody. The album sounds like it was picked from an underwater shipwreck, as the tapes he used for the final versions were erased and recorded countless times due to a year of cocain fueled late night sessions. Parties at Sly’s crib were famous, the funk master did hire security to prevent people from bringing outside stash, it was his own stuff, the way he wanted. A landmark album.

1. Grace Jones – She’s Lost Control

Joy Division are (unfortunately) very extensively covered, as if every hip head suddenly started to like one of the most beautiful weird bands ever, and the best of them. Truly bad covers were made of Love Will Tear us Apart, 99% of them suck, specially Nouvelle Vague’s. She’s Lost Control is another brilliant song from their debut, Unknown Pleasures, and in 1995 somebody decided to release A Means to an End, a collection of versions. Girls Against Boys angst-ridden and teenage riot version is the best of the compilation, but it’s Grace Jone’s version that tops them all. Eight Minutes of pure crazy dub.

The Night of the Hunter (1955)

John Holmes — Mon, 31 May 2010 00:53:53 +0000

Directed by Charles Laughton
Written by James Agee, Based on the book The Night of the Hunter by Davis Grubb
Cast: Robert Mitchum, Shelley Winters, Lillian Gish

B&W, 93 Min
USA 1955

iMDB | AllMovie | Wikipedia

Taken from the romance of the same name based on the true story of the Harry Powel, a preacher who killed 25 women upon marrying them, this avant thriller was way ahead of its time, even today. The only directing effort from the actor Charles Laughton, this is a phenomenal exercise in style and narrative, one true classic that inspired many and is as frightening today and breathtaking as it was 60 years ago.

There is nothing like this in the classic hollywood period, a bold and precise cinematography that is a direct result of the noir period that uses German Expressionism as a reference to build truly breathtaking angles, lightning and scenery, built upon the dark and profoundly astounding character of Harry Powell played by Robert Mitchum. Stanley Cortez is the man behind the cinematic power and every scene, every plan is simply perfect. It is, nonetheless, a classic period movie, filled with the yin and yang of the dramatic narrative of the 40s and 50s, good vs evil, god vs satan, and these parts are balanced by a smart script that builds the tension maniacally then slows the pace to absorb the darkness only to carefully open the doors of mayhem to breathe joy in the last scenes.

If not only for the script, for the characters then, beautifully photographed, from the psychopath priest whose right knuckles are tattooed LOVE and the left ones HATE, to the children that play their parts so convincingly you’d think you’re watching a documentary. The setting is the depression era 30s, in a small town by the river, and this atmosphere is built using not only strong characters but also angled by the precise and beautiful cinematography.

The story is relatively simple but told in a careful fold, a husband returns home with a gun in his hand and ten thousand dollars in his pocket, after robbing a bank and killing two men. The cops are coming for him and he has only time to say goodbye to his children and give them the bounty, making them swear they never reveal where it is hidden, not even to their naive mom. Sentenced to death by hanging, he spends his final days in a cell with Powells, who was committed to 30 days of jail for stealing a car. What a joyful coincidence, the psychopath thinks, just what he needed: a widow with 10 grant in her will. Of course that he tracks her and marries the poor soul and tries to makes his way into the children, after perceiving that they are the ones who know where the treasure is hidden while managing to capture the charms of the local folks who believe in his word of God.

He eventually kills his new wife, making it an accident, and the children have to escape using a boat that belonged to their father. The river seems haunted, as their fate, the light is superb and this middle segment of the story is one of the most memorable scenes of the entire post-war hollywood cinema.

What’s most intriguing about this early thriller is that it has no direct consequence on the cinema of its era; even noir wasn’t this troubled and grim, and we’re talking of a segment of north american history where the restrictions imposed by the Code were strict. More, this movie was almost forgot by the time it was released, only to find its way as a cult status many years after. This is an absolute classic, have no doubt, its narrative as tight as never before, the pacing and plot structured to serve the absolute purpose of the story and atmosphere, something that European cinema explored many years before, and the cinematography takes the German Expressionism and even a glimpse of realism, a trend that was becoming true in Italy and that gave way to the new waves of the 60s. Remarkable, scary, tense and just plain beautiful, The Night of the Hunter is a hell of a movie, one that not only every cinema enthusiast should see but every human being that loves a good story told in a perfect, flawless form.

Heartbreak Score:

(absolute classic)

Where to get it:

Amazon uk: The Night Of The Hunter [DVD] [1955]

Unfortunately it’s just the regular movie-only edition, no documentary or anything, but if you’re in Europe and can’t wait for the new Criterion Collection edition, this is it. Let’s wait for Criterion to release a proper version. Meanwhile, this is the only and therefore best edition you can get.

Update: Criterion will release a proper DVD Edition of this superb film this November. Read it all here.

There was a documentary made from leftovers of the movie that were found, read more at the wikipedia entry for the film.

More Screenshots: