Man Hunt Screen 5 articles

Man Hunt

1941

Man Hunt Poster
  • ...The integrity of the fantasy world being created before the camera is something being believed in by its creators, and in turn, presumably, by the audience. It is telling us a story; Man Hunt is a wartime thriller invoking a wartime audience's imagination.

  • The evocation of England is pure Hollywood nonsense, Bennett's prostitute is too coy and saddled with an atrocious Cockney accent, and the sequence with McDowall's cabin boy the stuff ofBoy's Own. But the basic theme of hunter-and-hunted survives intact, beautifully expressed in taut scenes like Carradine's stalking of Pidgeon through the London Underground. Forget the shortcomings and the propagandistic finale, and you have a gripping noir thriller, bleak, complex and nightmarish.

  • I only half agree with Gunning. He has a point when it comes to Man Hunt's simplistic, tub-thumping conclusion, yet this finale provides a precise and logical bookend to what might well be the most hair-raising opening of any Lang picture--which is equally propagandistic, though I wouldn't trade it for anything that wasn't.

  • The opening sequence of Fritz Lang’s “Man Hunt” is still powerful today; imagine how it must have struck the audience on June 13, 1941, when “Man Hunt” opened at the Roxy in Times Square... “Man Hunt” was originally meant as a project for John Ford, and the screenplay is by Ford’s regular collaborator, Dudley Nichols. But Lang folds the film entirely within his own personality.

  • A sensation upon initial viewings in June 1941 (only days before Germany invaded Russia), the movie has a long, silent opening scene, with the Nazi leader in his Berchtesgaden hideaway framed in the sniper’s gun sight, that still packs a wallop. The rest of the movie is beautifully lit, expertly directed and considerably enlivened by the presence of Joan Bennett, obviously enjoying herself in the role of the teenage cockney quasi-prostitute who comes to Pidgeon’s aid.

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