The Stranger

Plot

Mr. Wilson, a tenacious investigator from the War Crimes Commission, travels to the small town of Harper, Connecticut, under the guise of a clock salesman to track down Franz Kindler, one of the architects of the Holocaust who has escaped justice. Kindler has assumed the identity of Charles Rankin, a respected professor at a local prep school, and is engaged to Mary Longstreet, the daughter of a Supreme Court Justice. As Wilson pieces together clues about Rankin's true identity, he must convince Mary of her fiancé's monstrous past before Kindler can eliminate him and escape once more. The tension escalates as Kindler becomes increasingly desperate to maintain his cover, leading to a dramatic confrontation in the town's clock tower where Wilson must prevent Kindler's escape and bring him to justice.

Historical Background

Released just one year after World War II ended, 'The Stranger' emerged during a period when the world was grappling with the full scope of Nazi atrocities and the hunt for war criminals was headline news. The Nuremberg Trials were underway (1945-1946), making the film's themes particularly resonant. The inclusion of actual concentration camp footage was unprecedented and shocking to American audiences who were only beginning to understand the Holocaust's magnitude. The film tapped into growing Cold War anxieties about hidden enemies within American society, reflecting the emerging paranoia that would define the late 1940s and 1950s. It was also made during Hollywood's post-war golden age, when studios were willing to tackle serious social issues while maintaining commercial appeal.

Making Of

The production was marked by constant tension between Welles and producer Sam Spiegel. Welles wanted to make a darker, more complex film noir, while Spiegel pushed for a more straightforward thriller. The famous scene where Kindler murders his Nazi associate was shot in one take with Welles performing his own stunts. Welles' innovative use of deep focus and low-angle photography created a sense of paranoia and entrapment throughout the film. The clock tower sequence required extensive planning, with Welles insisting on practical effects rather than the studio's preferred optical printing. Despite the conflicts, the film was completed ahead of schedule, though Welles later claimed Spiegel had recut the film against his wishes, removing several scenes he considered crucial to the story's psychological depth.

Visual Style

Russell Metty's cinematography masterfully blends film noir techniques with documentary realism. The use of deep focus creates a sense of constant surveillance, reflecting Wilson's hunt for Kindler. Low-angle shots emphasize the power dynamics between characters, particularly when Welles' character dominates the frame. The contrast between the idyllic small town settings and the shadowy, claustrophobic interiors creates visual tension throughout. The clock tower sequence showcases innovative camera movement, with sweeping shots that enhance the vertiginous climax. The inclusion of actual concentration camp footage creates a jarring contrast with the polished studio photography, blurring the line between fiction and reality. Metty's use of chiaroscuro lighting in key scenes, particularly during the murder sequence, creates a moral ambiguity that reflects the film's themes.

Innovations

The film's most significant technical achievement was the seamless integration of authentic concentration camp footage into a fictional narrative, a pioneering approach that influenced later documentary-style filmmaking. The clock tower sequence featured innovative use of forced perspective and matte painting to create the illusion of height and danger. Welles employed advanced sound mixing techniques to layer dialogue, ambient noise, and musical score, creating a rich auditory experience. The film's editing, particularly in the climactic sequence, used rapid cross-cutting between multiple perspectives to maximize tension. The production also developed new techniques for creating realistic weather effects, particularly in the film's storm sequences. The use of location shooting combined with studio sets created a hybrid visual style that enhanced the film's realism.

Music

Bronisław Kaper's score combines traditional thriller motifs with subtle musical references to German classical music, creating an ironic commentary on Kindler's cultured facade. The main theme uses a repetitive, clock-like rhythm that echoes the film's central motif of time running out. Kaper incorporates dissonant chords during moments of tension, particularly in scenes involving Kindler's true identity. The score makes effective use of leitmotifs, with distinct musical themes for Wilson's investigation and Kindler's deception. The soundtrack also features diegetic music, including classical pieces performed by characters, which serves to highlight the contrast between civilization and barbarism. The sound design in the clock tower sequence is particularly noteworthy, using the mechanical sounds of the clock to build tension.

Memorable Scenes

• The climactic clock tower sequence where Kindler attempts to escape while being pursued by Wilson, featuring innovative camera work and stunt work
• The scene where Wilson first shows Mary the concentration camp footage, shattering her innocence about her fiancé
• The murder of Konrad Meinike in the woods, filmed with stark, expressionistic lighting
• The dinner scene where Kindler subtly reveals his Nazi ideology through philosophical discussion
• The final confrontation in the clock mechanism room, where Kindler meets his end among the gears and pendulums

What Critics Said

Contemporary critics praised the film's timely message and suspenseful execution, with Bosley Crowther of The New York Times calling it 'a taut and absorbing melodrama.' Variety noted its 'unusual subject matter' and praised Robinson's performance as 'excellent.' However, some critics felt the film was too conventional for Welles, with Time magazine suggesting he had 'sold out' to Hollywood conventions. Modern critics have reassessed the film more favorably, with many considering it an underrated masterpiece of film noir. The British Film Institute ranks it among Welles' most accomplished works, praising its visual style and thematic depth. The film's reputation has grown significantly since its initial release, with contemporary scholars highlighting its innovative use of documentary footage within a fictional narrative.

What Audiences Thought

The film was a commercial success, earning over $2.5 million at the box office against its $1 million budget, making it Welles' most profitable film as a director. Audiences were particularly drawn to its timely subject matter and the star power of Edward G. Robinson. The film's suspenseful narrative and shocking revelations kept audiences engaged, with many reporting being deeply affected by the concentration camp footage. The film's success proved that post-war audiences were willing to confront difficult subject matter, influencing Hollywood's approach to wartime themes. Despite Welles' later criticisms of the film, contemporary audiences embraced it as both entertainment and moral education. The film's popularity endured through theatrical re-releases and later television broadcasts, cementing its status as a classic of the thriller genre.

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