El extraño

A little much in parts, particularly the use of headlight direction that Welles loves to employ, nevertheless, this is a film that rates three stars in the Wellesian collection.

Edward G. Robinson is superb as the laid-back, all-knowing, in-your-face detective and Loretta Young scores as Orson's wife but it's big Billy House who is the real scene-stealer. House plays the man who owns the self-service store in town who likes playing checkers with his customers.

Welles, who looks a little strange--no doubt to match up with the title-provides a commanding performance throughout in a film that reflects the era's revulsion with the Nazi dream.

It's quite interesting to see two acting legends like Orson Welles and Edward G. Robinson working together, and with a cast that includes those two plus Loretta Young, along with an interesting story, "The Stranger" is a pretty good thriller.

Welles and Robinson play an interesting cat-and-mouse game in the search for a former Nazi who is hiding out in a peaceful Connecticut town. It's fair to point out, as others have done, that the dialogue at times leaves a little to be desired, but Welles and Robinson have more than enough ability to carry it off anyway.

Loretta Young has a difficult role as the wife of Welles's character. The script does her no favors, either, but she gives a creditable performance as a character who is important to the story. Among the supporting cast, Billy House particularly stands out, getting surprisingly good mileage out of his role as the store-keeper.

Perhaps the most creative aspect of the movie is the effective use of the clock tower, both as a plot device and as an idea, along with the related themes of clocks and time. The tense climax makes good use of all of these elements.

Welles and Robinson were both parts of so many outstanding movies that sometimes their merely good movies can seem to suffer by comparison. As long as you don't try to compare "The Stranger" with some other film, but just watch it for itself, it's a good thriller and an entertaining movie.

Who says that fear of terrorism is a new development, post 9/11. Imagine the fears and exposed nerve endings of the average towns person living in the shadow of World War II. There was the fear of infiltration by the Nazis with their secret agents, blending in with our everyday citizens. Orson Welles plays just such a guy. He is kind, pleasant, quiet, and very dangerous. He even sets about marrying a woman as part of his secret plot. Edward G. Robinson, who normally would have been the heavy, plays a tired, hard working investigator who is leaving no stone unturned. The plot is intricate, though predictable, and the whole thing is hard to take your eyes off. Welles was a great director, but perhaps an even better actor. He keeps this thing going, raising it above the common fair of the time. The writing keeps the good guys at bay, but the clues continue to sit there, ripe for discovery. The clock tower is a great symbol, continuing to remind us of the urgency of everything. The dramatic irony presented makes us continually uncomfortable. We are treated to the movements and activities of the villain, and being let in, it makes everything more enjoyable. See this if you can.

I picked up this movie, mostly because of the cover and the price ($4). I was happily surprised as to the quality of the movie.

The story takes place after the end of World War II. Edward G. Robinson plays a government official named Mr. Wilson. He is in charge of the Allied War Crime commission. He is looking for an elusive war criminal. His name is Franz Kindler (Orson Welles). He is suppose to be the one who came up with the Nazi plan of mass annihilation. There is no evidence, nor any photographs of Kindler. To find Franz, Wilson releases Kindler's assistant (Konrad). Konrad inadvertently leads Wilson to Harper, Connecticut. Kindler is hiding out at an all boys school as a professor named Charles Rankin. Konrad arrives on Charles' wedding day. He is getting married to the daughter of a liberal Supreme Court justice.

This movie is definitely film noir, in the lighting and the grittiness of the events. It is also quite evident that this movie was directed by Welles himself. If you have seen any one of his movies, you can see how he functions. The story is enjoyable, if not slightly predictable (especially if you have seen other film noir films or have listened to any golden age radio programs). Overall, it is nice to see Edward G. Robinson playing the good guy for a change. I also thought Billy House had a standout performance as Mr. Potter (the owner of the local general store). He provides most of the comedy relief. I highly recommend this movie for fans of Edward G. Robinson, Welles or the film noir genre.

-Celluloid Rehab

The IMDb trivia page says this is Orson Welles's least favorite and least personal film. Aside from "Citizen Kane" and "The Magnificent Ambersons," I think this potent film noir is his most enjoyable—certainly more so than the ugly "Lady from Shanghai" or the overbaked and convoluted "Touch of Evil."

Charles Rankin (Orson Welles) is a professor in a respectable Connecticut town about to marry the daughter of a U.S. Supreme Court justice. But his name is fake and his past is filthy. An earnest convert to Christianity (Konstantin Shayne), who once ran a Nazi concentration camp, is capable of exposing him. "Rankin" kills this little old man and buries his body in the forest. But he isn't safe because an investigator (Edward G. Robinson) from the War Crimes Commission is on his tail. Rankin needs his own wife (Loretta Young) to help him elude capture. But his fascination with the local clock tower may prove his undoing.

As a director, Welles strains a bit too hard for effect in this film—and much too hard in everything but "Kane" and "Ambersons." In those two films all of his technical effects, striking as they are, seem effortless and exactly the right choices. Here, he has imperfect moments—such as the scene where his character is frantically, and inexplicably, trying to pick up pieces of paper—but everything else is splendid, especially the climax.

As an actor he's always compelling, but I think he makes one bad choice here. He's too guilty-looking in the early scenes. It makes us wonder why no one suspects him; and it robs us of a dramatic contrast when he begins to realize he's in imminent danger.

Loretta Young is generally a dull actress. She doesn't have enough skill to make an impression in the early scenes; but once the part requires histrionics she performs her duties well enough. Certainly her character is morally dubious and therefore fascinating in itself.

The best performance by far is Edward G. Robinson's. One of the great actors of his time, this ugly man has enough talent and star quality to underplay his role to great effect.

Orson Welles fans might find this exciting, well-plotted thriller too un-Wellesian to suit them. Otherwise, this is highly recommended.