An example of the inconceivably artistic greatness of its director, “The Stranger” remains forgotten at the bottom of a superb filmography, but continues to be counted amongst some of the greatest noirs ever made. From every aspect, the most commercially successful film of the director’s early period is a post-expressionistic classic, impressive because of the ingenuous way it was filmed, foreshadowing the aesthetics of “The Third Man”
USA | 1946 | B&W | DCP | 95’ | ENGLISH, SPANISH, FRENCH
A Nazi hunter (Edward J. Robinson) finds himself in a quiet American town where, as usually, a wolf in sheep’s clothing (Orson Welles) lives respectfully among the citizens. The most “normal” of all Wellesian films, historically the first with images form Nazi concentration camps, would be his last film in Hollywood, that offered him recognition and ostracised him.
In “The Stranger” , his ability to adapt to the narration for a big audience (his only commercial success), his inability to avoid genius scenes and the creative repetition of his favourite pattern of human monsters – he even portrays them – undermining community, is proven. A stylish film (obviously) with a great acting conflict which culminates in a scene deserving to be anthologized. Just for his own fun. I.D.
DIRECTOR: Orson Welles
SCREENWRITERS: Anthony Veiler, Decla Dunning, Victor Trivas
DoP: Russell Metty
MUSIC: Bronislaw Kaper
EDITOR: Ernest J. Nims
PRINCIPAL CAST: Edward G. Robinson, Loretta Young, Orson Welles