It is always a shame to hear that a great film wasn’t appreciated by its contemporary audience, but it unfortunately happens far more often than might be initially expected. “The Night of the Hunter” is a gem — a gem that has been painstakingly crafted into the best of its kind — a gem where how it came to be is just as important as what it sets out to convey — a gem that manipulates light into a thing of beauty in a way that seems almost impossible and sometimes uncanny. Light and dark swathe the sets created in Charles Laughton’s magnum opus which just so happened to be his only film of his career. If he decided not to direct again because of the attacks from the critics and audiences of the time then its hard not to feel like the brightest candle had been snuffed out just as it got burning.
Quentin Tarantino has become such a huge director since his initial debut with “Reservoir Dogs” in 1992, immediately afterwards in 1994 he went on to make “Pulp Fiction” which is in my top three films of all time (so far). Everything this guy releases seems to be astounding, he’s someone you can practically guarantee to put out something worth watching, and you never feel he’ll let you down if you get excited for one of his films. Perhaps it’s good then that his only sub-par film came when no one knew his name. “Reservoir Dogs” holds so many Tarantinian elements that just don’t work in this film, but they are traits and signatures that Tarantino has since come to exquisitely perfect.