The Stranger is one of Welles' lesser known works but it is right up there with the best, which means pretty much all of 'em! What is a fairly simple story is given the full treatment.The cinematography is wonderful-why can't directors use black and white these days?, they just don't have the eye for it anymore.It is sometimes said that Welles' started at the top and then everything went downhill.I don't agree.The Stranger, Journey Into Fear, Lady From Shanghai,The Trial,Touch Of Evil etc,etc every one a great film. Given that this was made cheaply as a B movie,it blows so many 'great' movies out of the water.Welles never got within sniffing distance of an Oscar for any of his work, the Hollywood mafia saw to that, but when you think that Titanic scooped the pool it fair makes you weep. Still, some of us know and some of us don't.You don't need to be a movie buff to watch The Stranger, you just need to be unindoctrinated by the Hollywood factory.Watch and enjoy.
The Stranger (1946) 1080p YIFY Movie
The Stranger (1946) 1080p
The Stranger is a movie starring Orson Welles, Edward G. Robinson, and Loretta Young. An investigator from the War Crimes Commission travels to Connecticut to find an infamous Nazi.
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The Synopsis for The Stranger (1946) 1080p
Wilson of the War Crimes Commission is seeking Franz Kindler, mastermind of the Holocaust, who has effectively erased his identity. Wilson releases Kindler's former comrade Meinike and follows him to Harper, Connecticut, where he is killed before he can identify Kindler. Now Wilson's only clue is Kindler's fascination with antique clocks; but, though Kindler seems secure in his new identity, he feels his past closing in.
The Director and Players for The Stranger (1946) 1080p
The Reviews for The Stranger (1946) 1080p
Another great day at the office for Orson Welles.Reviewed byterraplaneVote: 10/10
I first watched "The Stranger" on a cold Saturday night. It was pitch black outside, a fitting setting in which to watch this chilling film.
The story unfolds like an onion, with the facts slowly revealed as the skin is peeled away. We learn that a Nazi criminal,Meinike,will be allowed to escape from prison. It is only when he visits fellow comrade Kindler that we understand why. Kindler was the worst of the Nazi war criminals, as he was the creator of the death camps and all of their savage technology. He kills his friend to escape suspicion, but ironically, the discovery of Meinike's body only furthers the tarnishing of his reputation. Each act of violence Kindler commits drives him farther to the edge of his sanity...or insanity, depending on your point of view. He can only find solace in tinkering with the town clock. It's as though through fixing the clock, he can fix parts of his life as well. He needs order. When he realizes he cannot have it, he attacks the grandfather clock. It's as though the one stable thing in his life is gone. Also, remember how the clock is whirling at the beginning of the movie? It whirls at the end as well. It gives the film closure, and also shows how the entire situation in the town was broken while Kindler was there. A fascinating film, "The Stranger" will be on your mind long after the credits have scrolled down the screen.
A particular disappointment for those who recognize Orson Welles as a film innovator and genius. Despite many critic's belief that "The Stranger" is a minor masterpiece, the truth is that it's little more than a convoluted piece of propaganda intended to assuage the feelings of post-war audiences. On the plus side, director Welles does manage to show a stylish touch here and there, and the stark black-and-white photography evokes a somber and appropriately eerie pall over the proceedings. But nothing can overcome the banal, increasingly preposterous story line which, by some miracle, received an Oscar nomination.
Top-billed Edward G. Robinson plays a federal agent who has assigned himself the task of finding a heinous, sought-after Nazi war criminal who played a principal role in the operation of concentration camps. By cleverly allowing the "escape" of a minor Nazi figure, Robinson hopes that Nazi minor will lead him to the whereabouts of Nazi major. As the action unfolds, the trail quickly leads to a quaint, quiet, seemingly unaffected Connecticut town.
Welles' batting average at this point of his film career was poor. He had struck out profitably with his prior three movies, but producer Sam Spiegel gave Welles this final opportunity to prove he COULD churn out a movie on time and within the budget. For Welles the result was remunerative and commercially successful. But at such a cost! While the studio was appreciative, Welles himself called it the worst film of his career and I couldn't agree more. It probably succeeded because the film's content struck a politically correct chord with its 1946 post-war audiences. I can think of no other reason.
Accenting this suspense melodrama with shadowy camera angles and wonderful "portrait-like" close-ups of his stars, Welles shows surprisingly little of the inventiveness he is known for. Everything seems rehashed, including a strikingly reminiscent clock tower finale a la Alfred Hitchcock. Moreover, Welles dilutes most of the film's suspense with stale, ineptly drawn, poorly motivated characters -- most of them sacked with implausible dialogue and situations. Even the musical score is obtrusive and obvious.
Wisely understated, Robinson comes off best here as the dogged agent whose instincts do not fail him as he ferrets out his suspect. His character's tone seems balanced, direct, and realistic, which is truly welcomed for he is surrounded by a cast of over-emoters.
Welles the director comes off marginally better than Welles the actor. He plays the small-town professor-turned-suspect as if he were Macbeth in a production of "Our Town." His classical demeanor just doesn't jell. At least his Nazi isn't a caricature, but his intense, incessant brooding here quickly turns mechanical, registering every sinister act and intention with a wide, fixated, stony gaze. One of his few good moments occurs at a dinner table sequence when he is allowed to expound on everything from Marxism to the mental restoration of post-war Germans.
Loretta Young is the chief violator of most of the film's acting problems. As the unsuspecting wife of Welles' character who refuses to see the obvious, she is simply unconvincing in her many scenes, unleashing a plethora of emotions, none of them coming from anywhere real. Her reactions are over-baked and, at times, unintentionally amusing as she feigns shock, disbelief, false bravado, and everything else under the sun. The dialogue served on her certainly doesn't help either.
But the most frustrating aspect of this film is that Welles, in order to advance the plot, allows his characters to do such silly, unsubtle, nimble-minded things. Neither Robinson's methods of tracking down his man nor Welles' ability to elude the ever tightening dragnet are done with much intelligence. One wonders how they ever achieved their stations in life. And poor Loretta! She is practically offered up as a sacrificial lamb just to expose her husband's true identity, when other methods could have utilized just as well!
While "The Stranger" cannot seriously damage Orson Welles' reputation as a masterful but frustrated filmmaker, it certainly does nothing to enhance it.