The Stranger

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 Stranger was directed by Orson Welles but he did not adapt it to the screen. Although this is seen as a detraction from the whole by some who have seen it, I believe that Welles' deft directing and penetrating acting is what makes this a Welles film for my taste. He was never a facile actor - but he uses his usual wooden countenance here to the advantage of this role.

Another thing that fascinates me is the underrated status of this engrossing thriller. The action and suspense builds and builds to a peak of excitement that few movies can reach without lots of special effects and Foley work these days. This movie fascinates at every turn without ever seeming as if we are watching art. But art it was in Welles' direction and gentle handling of the unravelling.

Edward G. Robinson is the subtle but welcome prize we receive from this outing. The undercurrents of the horrors that have just come before this movie was made and its actions can be seen seething within his duty to find hidden Nazis. He is methodical and intelligent, it so difficult to see the difference between Robinson the man and Robinson the actor here. He is such a talent that we often mistake his ease for something else but acting -- and of acting he was a master. Plainly seen here as a gift to all of us.

What I like about this and many other good films is how facts are revealed slowly, layer by layer.

Loretta Young was good as the innocent young girl who believes that marriage is a sacred institution, that life has a course to follow which will not be derailed and finds it hard to accept the truth of the horrors behind her marriage.

It was mildly amusing to see a very young Richard Long as the open-minded young man with whom Robinson's character confides certain facts.

I recommend it to fans of psychological thrillers, mysteries and of course, of Mr. Orson Welles. So sad that the studio heads were such disingenuous towards this utter genius of a man who deserved more earnest accolades in his life.

THE STRANGER is not glittering masterpiece but it's a hell of great story that I do not tire of watching...and seeing each piece of the puzzle fall into place.

What MORE could an intelligent person want from a movie?

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.

The reason people talk about "The Stranger" 60 years later is because it was Orson Welles' first directorial effort after he was evicted from the Mercury Theater cocoon which gave us "Citizen Kane" as well as its worthy follow-ups "The Magnificent Ambersons" and "It's All True." The reason "The Stranger" is worth talking about is because it features one of the greatest performances by that criminally-ignored actor, Edward G. Robinson.

Robinson plays Mr. Wilson, an anti-Nazi hot on the trail of a war-crimes-tribunal escapee Wilson hopes will lead him to Franz Kindler, architect of the Final Solution. Kindler, we quickly discover, has set himself up as a history teacher, Mr. Rankin, at a Connecticut prep school. There he is about to marry Mary Longstreet, the daughter of a U.S. Supreme Court justice, "a liberal," Kindler relates with chilling amusement.

As Kindler, Welles gives a weak performance. There's a scene where he chews on more than his dinner as he gives himself away, by saying Marx was not a German because he was a Jew. Actually, I'd say the jig was up when he revealed his novel notions of reconstruction. The scenes between him and Loretta Young, who plays his too-trusting bride, are uncomfortably clichéd.

But Robinson is a marvel throughout the film. Of course, he is best remembered for playing a gangster, but he shone playing good guys, too. "Double Indemnity" is the best of them, though "Confessions Of A Nazi Spy" is good, too, and somewhat to the point here as it features Robinson playing a role similar to "The Stranger," though at the beginning of World War II rather than the end.

Robinson's character here, Mr. Wilson, might in fact be "the stranger" of the title, though it seems to refer to Kindler. Frankly, Kindler may be a Nazi bent on killing innocents, but Wilson is about as coldblooded a character. From the beginning, he seems to be half-playing a game with the Nazi he is chasing, smoking his pipe and staring directly into the eyes of his fearful prey. Perhaps the war crimes he has immersed himself in investigating have stripped him of any human kindness. The way he works on Mary's brother Noah and his father the judge is remarkable for Wilson's lack of humane concern, perhaps necessary, but still bone-chilling. He's like that all the way to the end. Just think for a moment about that final line he says to Mary, after all she's just been through. He's on the side of the angels, but Robinson turns in one of his most devilish performances.

There are nice scenes in and around the town of Harper, and I agree with those viewers who see shades of "Shadow Of A Doubt" in its depiction of small-town life, even though that took place in California and this is happening in Connecticut. Billy House as Mr. Potter dominates the scenes he is in with his amiable whimsy and the eyeshade he dons when he's in the middle of a serious checkers game (quarter stakes).

But "The Stranger" never really gels as a movie. Welles as director is strangely ill at ease with Wells as star. Too many cow-eyed portentous stares, not enough subtle moments like that low-key moment with Mr. Potter when he pays for a soda after finding out Mr. Wilson's hot on his trail. Young may have been a fine actress, but she doesn't get much help from a script that serves up every frail female stereotype in the book. Her every reaction seems more suited to soap opera.

Yet there's more to like here than dislike. Take the satisfying conclusion, where Kindler/Rankin has his moment of truth in the church tower where he has been working on the clock. It's the one effective scene between him and Mary, and very gripping. Welles was a gifted artist, but a superb craftsman, too, and if "The Stranger" offers more evidence of the latter, who are we to quibble? Pleasant dreams

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.