Overview
Release Date:
24 noviembre 1955 (Argentina)
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Frase comercial:
The wedding night, the anticipation, the kiss, the knife, BUT ABOVE ALL... THE SUSPENSE!
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Comentarios de los usuarios:
Overwhelming
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| Louis DeWitt | .... | special photographic effects (as Louis De Witt) |
| Jack Rabin | .... | special photographic effects |
| |
Crew verified as complete
Additional Details
También conocida como:
Noche del cazador, La (Argentina) (Mexico) (Spain) [es]
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Duración:
93 min
Aspect Ratio:
1.66 : 1
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Sonido:
Mono (Western Electric Recording)
MOVIEmeter: 
26% since last week
why?
Cosas divertidas
Goofs:
Factual errors: When John and Pearl are in the barn at dusk, there is a time-lapse sequence of the crescent moon rising. A crescent moon shortly after sunset is always setting and the lit portion should be tilted toward the point where the sun has recently set.
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Quotes:
[
repeated line]
Rev. Harry Powell:
[
singing] Leaning... leaning... safe and secure from all alarms. Leaning... leaning... leaning on the everlasting arms.
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Soundtrack:
Once Upon a Time There Was a Pretty Fly (Lullaby)
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preguntas frecuentes
Is this movie based on a novel?
A NOTE REGARDING SPOILERS
How did Harry get out of prison?
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Message Boards
Discuss this title with other users on
IMDb message board for The Night of the Hunter (1955)
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Recommendations
Related Links
I was lucky enough to see this in a cinema with a restored print. I had previously caught a snatch of it while channel surfing cable TV, and saw enough in about 30 seconds to realise that this was worth watching through if I got the chance.
I could barely speak at the end of the film. Pauline Kael called it one of the scariest movies ever made, and she was absolutely right. Robert Mitchum becomes the embodiment of evil, and his pursuit of the children is so relentless, and so menacing, that it becomes impossible to believe that they can escape. The images are brilliant; there's a depth to black and white that colour somehow lacks, and it is used superbly here to create a sense of brooding terror.
I didn't mind the homily at the end. Like everything else in the film, it is done with utter conviction, and this makes it work. Charles Laughton saw it as the indispensable conclusion to the film, and the strength of his belief makes it indispensable.
The images are so much part of the film that it must lose a great deal on the small screen, although my minimal exposure to it in that environment showed that it was still well worth watching, but if you get a chance to see it in a cinema, jump at it.