Amid a semi-documentary portrait of New York and its people, Jean Dexter, an attractive blonde model, is murdered in her apartment. Homicide detectives Dan Muldoon and Jimmy Halloran ... See full summary »
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. Written by
Rod Crawford <email@example.com>
During the dinner conversation, a correspondent, Standish of the London Times in Berlin, is mentioned. This could be a reference to Henry Standish, a war correspondent for the "News Chronicle", a UK daily paper that closed in 1960 after 30 years in existence (Standish is quoted in 1945's "What Buchenwald Really Means" by Victor Gollancz. Whether this reference is meant to be the same Standish and whether Standish really wrote an article similar to the one discussed in the film cannot be determined. See more »
The swastika that Kindler is drawing on the notepad is running in the wrong direction. See more »
[after Meineke's body is dug up]
I knew darn well it was the same feller. 'Course, he's changed some. Uh, being buried in the earth does it.
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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.
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