13 of Criterion’s Most Villainous Villains
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Hans Beckert in M
In Fritz Lang’s film, Peter Lorre plays the man with the lamentable distinction of being cinema’s most famous child killer, seeming as scared of everyone else as we are of him.
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Harry Powell in The Night of the Hunter
The pulpy title of Charles Laughton’s film doesn’t do justice to the profound evil of Robert Mitchum’s impostor preacher, who has no qualms about marrying and murdering just to get his mitts on some buried loot.
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Bishop Edvard Vergérus in Fanny and Alexander
The first hour of Ingmar Bergman’s epic family drama is a warm and wonderful holiday extravaganza. Say good-bye to all that when Dad dies and Mom marries an icy bishop (Jan Malmsjö). He locks Fanny and Alexander in the attic; he whips them for disobedience. He’s a fairy-tale monster, and he gets a satisfying storybook send-off.
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Doctor Génessier in Eyes Without a Face
You may feel bad for Pierre Brasseur’s good doctor following his daughter’s disfiguring car accident in Georges Franju’s film. Your sympathy will dissipate once you see what he does with a scalpel to deal with his grief.
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Kaede in Ran
Akira Kurosawa’s glorious epic is a gloss on King Lear. But it also contains one of cinema’s great Lady Macbeth figures: Mieko Harada as the devious Kaede, whose selfishness and thirst for blood spark the film’s warfare.
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Burke in Blow Out
There’s something about John Lithgow in Brian De Palma’s nail-biter that creeps us right out. Maybe it’s the overgrown-baby face—or maybe it’s the handy garrote, which gets a lot of use.
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Captain Munsey in Brute Force
Jules Dassin’s prison melodrama is a raw punch to the gut, thanks largely to Hume Cronyn’s frighteningly calm overlord, who hangs a framed photo of himself in his office and listens to Wagner while he tortures inmates. Fascist overtones not coincidental.
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Dominique in Sisters
In Brian De Palma’s thriller, Danielle is demure and delicate. Her twin, Dominique (Margot Kidder), is something else entirely. Whatever you do, don’t buy her a birthday cake.
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General Paul Mireau in Paths of Glory
Stanley Kubrick’s antiwar cry condemns a whole rotten system, but a lot of your despondent rage will be directed at George Macready’s severe army general, who commands his soldiers to open fire on their comrades. Stiff and robotic (with that terrifying scar—the actor’s own), he’s the chilling personification of a mindless military machine.
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The blob in The Blob
An indestructible, unstoppable force lacking feeling, motivation, or vertebrae, the titular gelatinous pink ooze from outer space of Irvin S. Yeaworth’s film could put you off grape jelly for life. But we’re eternally grateful to it for inspiring that catchy Bacharach tune.
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Mr. Scratch in The Devil and Daniel Webster
Walter Huston netted a well-deserved Oscar nomination for his gleefully wicked work in William Dieterle’s still-unsettling classic—as Beelzebub himself, tempting and tricking a poor farmer into an unfortunate fortune.
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Yone in Kuroneko
Filmmaker Kaneto Shindo was devilishly good at devising new sorts of outings for mothers and their daughters-in-law (see also: Onibaba). Like, in this case, murdering samurai by ripping their throats out. Nobuko Otowa’s avenging-spirit matriarch, with her oddly feline grace, is firmly in control.
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Raymond Lemorne in The Vanishing
An unassuming professor and happily married man, Raymond (Bernard-Pierre Donnadieu) is one of those discreetly charming bourgeoisie you hear about. He’s also responsible for an act that has given viewers of George Sluizer’s film nightmares for decades. You’ve been warned.
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Hans Beckert in M
In Fritz Lang’s film, Peter Lorre plays the man with the lamentable distinction of being cinema’s most famous child killer, seeming as scared of everyone else as we are of him.
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