"Citizen Kane" is revered today as one of the best films ever made. It was thought of highly in its day as well, considering the Oscar nominations that were piled upon it. But it was not a box office smash. Studio executives at RKO were clearly nervous that young, multi-talented genius Orson Welles could bring the studio to bankruptcy if his pet projects weren't reined in.
After the success of "Citizen Kane", Welles had several films in the works. He lost control of all of them. "Journey Into Fear" was given to another director during production, "The Magnificent Ambersons" was both heavily cut and partly re-filmed (including the ending), and the Latin American documentary "It's All True" was simply terminated. The turn of events must have been humbling for Welles.
He made a comeback with "The Stranger", a less ambitious film noir and thriller. It has a feel much like Hitchcock's "Shadow of a Doubt" or "Saboteur". The basic story was both simple and familiar: good guy chasing bad guy, with pretty girl in peril. The film was delivered on time and under budget, and was perhaps Welles' biggest commercial success. Today, however, his less conventional films (e.g. "Touch of Evil") are better remembered.
Orson Welles plays Nazi fugitive Franz Kindler, who is hiding out in a sleepy village of Harper, Connecticut. There, he imposters as a college professor teaching German history. He also tinkers with the town clock, a massive, centuries-old monolith imported from Europe.
Kindler is hunted by Wilson (Edward G. Robinson), a dogged detective for a war crimes commission. He has released pathetic Nazi underling Meinike (Konstantin Shayne), tailing him in the hopes that he will lead the way to Kindler. Meinike reaches Harper, then disappears. Wilson noses about the town, helped by gregarious comic relief shopkeeper Potter (Billy House). He sets his sights on Welles, who is newlywed to lovely, loyal Mary (Loretta Young). Mary's brother Noah (Richard Long) and Supreme Court justice father (Philip Merivale) are also suspicious of Welles. Several confrontations follow, with Welles growing ever more dramatic and desperate.
Robinson has nearly reprised his detective role from "Double Indemnity". He's excellent, and it's hard to believe that Welles wanted to cast fellow Mercury player Agnes Moorehead for the role instead. Robinson was one of Hollywood's ugliest stars, but had a rich career right up to his death in "Solyent Green". There's something very likable about Robinson, even when he snitches a magazine from the gullible Potter.
Young's role was more difficult. She had to play a loving spouse, a betrayed spouse, and a woman on the verge of a nervous breakdown. If her performance sometimes seems excessive, this can be blamed on the dramatic script. (To explain further would unfortunately spoil too much of the ending.)
Robinson's character develops the annoying habit of predicting everything that will happen in advance, reducing some of the suspense. He also engages in psychobabble, especially in a speech about Loretta Young's subconscious. The film's climax is also a bit showy, although one had to figure that a set as impressive as the big clock would have to be used.
Still, with a fine cast, and with strong direction, script and characters, "The Stranger" is too good to disappoint. (77/100)
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