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The Stranger (1946)

Approved | | Crime, Drama, Film-Noir | 25 May 1946 (USA)
An investigator from the War Crimes Commission travels to Connecticut to find an infamous Nazi.

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(screenplay), (adaptation) | 2 more credits »
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Nominated for 1 Oscar. Another 1 nomination. See more awards »
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Cast

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Konstantin Shayne ...
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Billy House ...
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Storyline

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 <puffinus@u.washington.edu>

Plot Summary | Plot Synopsis

Taglines:

The Most Deceitful Man A Woman Ever Loved !


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Approved | See all certifications »

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Details

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Release Date:

25 May 1946 (USA)  »

Also Known As:

Date with Destiny  »

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Technical Specs

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Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Though not as well remembered as some of Orson Welles' more original projects, this was the only film directed by Welles to show a profit in its original release. See more »

Goofs

Right before they open Meineke's suitcase, both Mr. Wilson & Mr. Potter are shown moving the same checker piece. This may, indeed, be a simple continuity gaff. However, it may also mean to indicate that neither man's mind is focused on the game at hand. See more »

Quotes

Judge Adam Longstreet: When she snapped those beads, she signed her own death warrant.
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Connections

Featured in Hollywood Remembers: Orson Welles See more »

Frequently Asked Questions

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User Reviews

As Dark as Noir Gets
15 March 2002 | by (Out there in the dark) – See all my reviews

No question about it, "The Stranger" is film noir. This oppressive narrative is shrouded in what must surely be among the darkest visual styles ever. Outdoor, sunlit scenes are few and far between. Most of the picture takes place inside the shadowy mansion of Loretta Young's guardian, inside the town's general store, or within the nearly pitch-black church steeple, where the film climaxes in a highly dramatic manner. This movie is noir, without a doubt.

Orson Welles, Edward G. Robinson and Loretta Young--are all beyond criticism as well, giving finely tuned, subtle performance. Also standing out is a very young, understated Richard Long--proving he had acting chops way back then.

Bronislau Kaper contributes a score to rival other, more highly-regarded composers. There are moments in it of ethereal beauty as well as intense drama.

Yet, apart from its visual style, how is "The Stranger" noir? The answer may lie in another question: who is the hero? If it's the Welles character, then he is an anti-hero and it fits pretty well. However, his new wife, played by Loretta Young, finds herself in a situation most noir, when Welles confesses the murder to her (and later plots her death as well). But Young does not seem like the main character in this tale, nor does Robinson, who is clearly a heroic figure. Perhaps what makes this one noir is the visual style in combination with character situations that complement each other.

"The Stranger" is only a few short steps below "Touch of Evil" in the Welles pantheon.


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