



made just after the second world war this Orsen Wells directed drama tells in a matter of fact way the tracking down by a war crimes agent of a nazi war criminal who sent thousands of people to the gas chambers.
It is memorable on several counts; The brilliant black and white photography which adds to the content of the story but also there is the underlying truth that many Nazi warcriminals did escape to South America and the USA. There is tension all the way through this movie, which is enhanced by the peaceful small town location which the Nazi Franz Kindler (Orsen Wells) has made his home. In order to swallow up his past identity he marries a local girl who is unaware of his background.
The agent (Robinson) follows another Nazi who leads him to Kindler.
The film ends with a gripping climax involving a gruesome end to Kindler thanks to the town clock! Well worth watching.
You can feel the sting of the moment in this one — a thriller made just after the war, already nudging you toward the idea that evil doesn’t vanish; it just updates its address. The Stranger might look like Welles playing it straight, but it’s full of those sly little touches that tell you exactly who’s calling the shots.
The lighting alone is worth the price of entry. Welles carves faces out of shadows, turns small-town streets into lurking traps, and stages dinner-table chatter like covert interrogations. More than once I caught myself staring at the composition and realised I’d missed half the dialogue. The images have that kind of pull.
Welles as the villain is always a pleasure — all charm stretched thin over something sharp beneath. Edward G. Robinson makes a perfect foil, poking at the cracks in that polished exterior with quiet persistence. It’s not flawless, but the mood carries it.
What you get is a tight, moody little thriller — timely then, surprisingly fresh now — and a reminder that even when Welles coloured inside the lines, he still drew something striking enough to linger.