Stranger (The)

Genre: suspense film (in black and white)

With: Edward G. Robinson (Mr. Wilson), Loretta Young (Mary Longstreet), Orson Welles (Charles Rankin), Philip Merivale (Judge Longstreet), Richard Long (Noah Longstreet), Byron Keith (Dr. Lawrence), Billy House (Mr. Potter), Konstantin Shayne (Konrad Meinike)

Director: Orson Welles

Screenplay: Anthony Veiller (aided by Orson Welles and John Huston), from a story by Victor Trivas adapted by Trivas and Decla Dunning

Release: 1946

Studio: International Pictures, Inc., The Haig Corporation

Rating: PG

MBiS score: 8.4/10

 

Love Is Blind, So They Say

 

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Story-line: with the end of WW II, alleged crimes against humanity are investigated in Nuremberg and elsewhere. Before the Allied War Crimes Commission, the American representative, Wilson, argues that the Nazi mastermind he is after will only be found by freeing a former accomplice, a man named Meinike, and following him wherever he leads. Although opposed by some commissioners, Wilson's plan is accepted and, upon release, a nervous-looking Meinike hops on a boat headed for a Latin country. You can count on Wilson to be hot on his trail...

Pluses: fine performances by Edward G. Robinson (as enigmatic as always), Orson Welles (an actor not unlike Oliver Reed) and a convincing Loretta Young in a pivotal role, sober and systematic direction that keeps things rolling along, a brisk and serious screenplay that develops its characters with intelligence and stokes tension efficiently, modest but adequate production values, a suitable musical score by Bronislau Kaper.

Minuses: be forewarned: the film features a few chilling but appropriately used scenes from the Nazi death camps.

Comments: THE STRANGER has much more to offer than its generic title may suggest and, frankly, I found it rather daring in its treatment of Nazi psychology and war crime issues so early after WW II. It boasts marquee names in a taut, film noir-like story that makes remarkable use of watches and clocks to drive its point about evil men and the secrets they harbour. Here is a fine example of what Orson Welles could do on both sides of the camera and a film that Hitchcock would have gladly included among his better works.    

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