The Moorish general Othello is manipulated into thinking that his new wife Desdemona has been carrying on an affair with his lieutenant Michael Cassio when in reality it is all part of the scheme of a bitter ensign named Iago.
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 »
In the beginning of the film, Mr Wilson breaks his pipe near the base. When we next see the pipe it is taped near the mouthpiece. See more »
Professor Charles Rankin:
The German sees himself as the innocent victim of world envy and hatred, conspired against, set upon by inferior peoples, inferior nations. He cannot admit to error, much less to wrongdoing, not the German. We chose to ignore Ethiopia and Spain, but we learned from our own casualty list the price of looking the other way. Men of truth everwhere have come to know for whom the bell tolled, but not the German. No! He still follows his warrior gods marching to Wagnerian strains, his eyes still ...
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Start with an inviting, wish-I-were-there small town setting. Then, toss in the most horrendous and heinous kind of evil, creating ripples in the placid pond. Watch as the ripples and their reflections move across the waters. Add the acting talents of three of the truly great performers of the 20th century, Loretta Young, Edward G. Robinson, and Orson Welles, and direction worthy of Hitchcock at his peak. Top it all off with a supporting cast that never misses a beat. That is what you have here. The Stranger may not be the perfect film, but if you like the sense of films like Hitchcock's "Shadow of a Doubt," you'll probably enjoy this. Personally, I have found it more engrossing every time I view it. Even though the mystery is gone, the great performances and pacing really are amazing.
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