Old Hollywood
Cinema
1900-1979
Nostalgia is a seductive liar - George Wildman Ball
Robert Mitchum in Night of the Hunter (1955, dir. Charles Laughton) (via filmforno) “I’m out of patience children…”

Robert Mitchum in Night of the Hunter (1955, dir. Charles Laughton) (via filmforno)

“I’m out of patience children…”

The stand-off: Robert Mitchum & Lillian Gish in Night of the Hunter (1955, dir. Charles Laughton)

The stand-off: Robert Mitchum & Lillian Gish in Night of the Hunter (1955, dir. Charles Laughton)

“Sure I was glad to see John Wayne win the Oscar. I’m always glad to see the fat lady win the Cadillac on TV, too.” -Robert Mitchum

“Sure I was glad to see John Wayne win the Oscar. I’m always glad to see the fat lady win the Cadillac on TV, too.”

-Robert Mitchum

Billy Chapin in Night of the Hunter (1955, dir. Charles Laughton) “One of the shots in the picture most frequently commended by critics occurs during John and Pearl’s journey down the river, when they decide to spend the night in a barn…John (Billy Chapin) awakens and, seeing Preacher (Robert Mitchum) riding in the distance, wearily comments, ‘Don’t he never sleep?’ Although it is often assumed that the shot is a special effects shot using Mitchum, it was actually accomplished on a sound stage with the use of forced perspective. The camera was set up in the barn behind Billy Chapin and focused out onto the sound stage. In the distance, Chapin’s stunt double, a dwarf dressed as Preacher, rode a small pony. The angle of the camera made it look as if Billy was gazing at a full-grown man riding in the distance.” (via)

Billy Chapin in Night of the Hunter (1955, dir. Charles Laughton)

“One of the shots in the picture most frequently commended by critics occurs during John and Pearl’s journey down the river, when they decide to spend the night in a barn…John (Billy Chapin) awakens and, seeing Preacher (Robert Mitchum) riding in the distance, wearily comments, ‘Don’t he never sleep?’

Although it is often assumed that the shot is a special effects shot using Mitchum, it was actually accomplished on a sound stage with the use of forced perspective. The camera was set up in the barn behind Billy Chapin and focused out onto the sound stage. In the distance, Chapin’s stunt double, a dwarf dressed as Preacher, rode a small pony. The angle of the camera made it look as if Billy was gazing at a full-grown man riding in the distance.”

(via)

Robert Mitchum in publicity still for Night of the Hunter (1955, dir. Charles Laughton)  “You’re staring at my fingers. Would you like me to tell you the little story of right-hand/left-hand? The story of good and evil? H-A-T-E! It was with this left hand that old brother Cain struck the blow that laid his brother low. L-O-V-E! You see these fingers, dear hearts? These fingers has veins that run straight to the soul of man. The right hand, friends, the hand of love. Now watch, and I’ll show you the story of life. Those fingers, dear hearts, is always a-warring and a-tugging, one against the other.” (via)

Robert Mitchum in publicity still for Night of the Hunter (1955, dir. Charles Laughton) 

“You’re staring at my fingers. Would you like me to tell you the little story of right-hand/left-hand? The story of good and evil?

H-A-T-E! It was with this left hand that old brother Cain struck the blow that laid his brother low. L-O-V-E! You see these fingers, dear hearts? These fingers has veins that run straight to the soul of man. The right hand, friends, the hand of love. Now watch, and I’ll show you the story of life. Those fingers, dear hearts, is always a-warring and a-tugging, one against the other.”

(via)