The Stranger (1946) 1080p YIFY Movie

The Stranger (1946) 1080p

The Stranger is a movie starring Orson Welles, Edward G. Robinson, and Loretta Young. An investigator from the War Crimes Commission travels to Connecticut to find an infamous Nazi.

IMDB: 7.42 Likes

  • Genre: Crime | Drama
  • Quality: 1080p
  • Size: 1.79G
  • Resolution: / fps
  • Language: Spanish
  • Run Time: 96
  • IMDB Rating: 7.4/10 
  • MPR: Normal
  • Peers/Seeds: 1 / 6

The Synopsis for The Stranger (1946) 1080p

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.


The Director and Players for The Stranger (1946) 1080p

[Role:]Philip Merivale
[Role:]Loretta Young
[Role:Director]Orson Welles
[Role:]Orson Welles
[Role:]Edward G. Robinson


The Reviews for The Stranger (1946) 1080p


Orson welles directs and stars in vivid postwar Nazi hunt.Reviewed bySteve-318Vote: 7/10

A little much in parts, particularly the use of headlight direction that Welles loves to employ, nevertheless, this is a film that rates three stars in the Wellesian collection.

Edward G. Robinson is superb as the laid-back, all-knowing, in-your-face detective and Loretta Young scores as Orson's wife but it's big Billy House who is the real scene-stealer. House plays the man who owns the self-service store in town who likes playing checkers with his customers.

Welles, who looks a little strange--no doubt to match up with the title-provides a commanding performance throughout in a film that reflects the era's revulsion with the Nazi dream.

I'm traveling for my healthReviewed byCelluloidRehabVote: 7/10

I picked up this movie, mostly because of the cover and the price ($4). I was happily surprised as to the quality of the movie.

The story takes place after the end of World War II. Edward G. Robinson plays a government official named Mr. Wilson. He is in charge of the Allied War Crime commission. He is looking for an elusive war criminal. His name is Franz Kindler (Orson Welles). He is suppose to be the one who came up with the Nazi plan of mass annihilation. There is no evidence, nor any photographs of Kindler. To find Franz, Wilson releases Kindler's assistant (Konrad). Konrad inadvertently leads Wilson to Harper, Connecticut. Kindler is hiding out at an all boys school as a professor named Charles Rankin. Konrad arrives on Charles' wedding day. He is getting married to the daughter of a liberal Supreme Court justice.

This movie is definitely film noir, in the lighting and the grittiness of the events. It is also quite evident that this movie was directed by Welles himself. If you have seen any one of his movies, you can see how he functions. The story is enjoyable, if not slightly predictable (especially if you have seen other film noir films or have listened to any golden age radio programs). Overall, it is nice to see Edward G. Robinson playing the good guy for a change. I also thought Billy House had a standout performance as Mr. Potter (the owner of the local general store). He provides most of the comedy relief. I highly recommend this movie for fans of Edward G. Robinson, Welles or the film noir genre.

-Celluloid Rehab

Atmospheric, but surprisingly superficial post-war Wellesian melodrama that simply lacks a convincing story line.Reviewed bygbrumburgh-1Vote: 3/10

A particular disappointment for those who recognize Orson Welles as a film innovator and genius. Despite many critic's belief that "The Stranger" is a minor masterpiece, the truth is that it's little more than a convoluted piece of propaganda intended to assuage the feelings of post-war audiences. On the plus side, director Welles does manage to show a stylish touch here and there, and the stark black-and-white photography evokes a somber and appropriately eerie pall over the proceedings. But nothing can overcome the banal, increasingly preposterous story line which, by some miracle, received an Oscar nomination.

Top-billed Edward G. Robinson plays a federal agent who has assigned himself the task of finding a heinous, sought-after Nazi war criminal who played a principal role in the operation of concentration camps. By cleverly allowing the "escape" of a minor Nazi figure, Robinson hopes that Nazi minor will lead him to the whereabouts of Nazi major. As the action unfolds, the trail quickly leads to a quaint, quiet, seemingly unaffected Connecticut town.

Welles' batting average at this point of his film career was poor. He had struck out profitably with his prior three movies, but producer Sam Spiegel gave Welles this final opportunity to prove he COULD churn out a movie on time and within the budget. For Welles the result was remunerative and commercially successful. But at such a cost! While the studio was appreciative, Welles himself called it the worst film of his career and I couldn't agree more. It probably succeeded because the film's content struck a politically correct chord with its 1946 post-war audiences. I can think of no other reason.

Accenting this suspense melodrama with shadowy camera angles and wonderful "portrait-like" close-ups of his stars, Welles shows surprisingly little of the inventiveness he is known for. Everything seems rehashed, including a strikingly reminiscent clock tower finale a la Alfred Hitchcock. Moreover, Welles dilutes most of the film's suspense with stale, ineptly drawn, poorly motivated characters -- most of them sacked with implausible dialogue and situations. Even the musical score is obtrusive and obvious.

Wisely understated, Robinson comes off best here as the dogged agent whose instincts do not fail him as he ferrets out his suspect. His character's tone seems balanced, direct, and realistic, which is truly welcomed for he is surrounded by a cast of over-emoters.

Welles the director comes off marginally better than Welles the actor. He plays the small-town professor-turned-suspect as if he were Macbeth in a production of "Our Town." His classical demeanor just doesn't jell. At least his Nazi isn't a caricature, but his intense, incessant brooding here quickly turns mechanical, registering every sinister act and intention with a wide, fixated, stony gaze. One of his few good moments occurs at a dinner table sequence when he is allowed to expound on everything from Marxism to the mental restoration of post-war Germans.

Loretta Young is the chief violator of most of the film's acting problems. As the unsuspecting wife of Welles' character who refuses to see the obvious, she is simply unconvincing in her many scenes, unleashing a plethora of emotions, none of them coming from anywhere real. Her reactions are over-baked and, at times, unintentionally amusing as she feigns shock, disbelief, false bravado, and everything else under the sun. The dialogue served on her certainly doesn't help either.

But the most frustrating aspect of this film is that Welles, in order to advance the plot, allows his characters to do such silly, unsubtle, nimble-minded things. Neither Robinson's methods of tracking down his man nor Welles' ability to elude the ever tightening dragnet are done with much intelligence. One wonders how they ever achieved their stations in life. And poor Loretta! She is practically offered up as a sacrificial lamb just to expose her husband's true identity, when other methods could have utilized just as well!

While "The Stranger" cannot seriously damage Orson Welles' reputation as a masterful but frustrated filmmaker, it certainly does nothing to enhance it.

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