Love from a Stranger

A year or so before he worked with him for SON OF FRANKENSTEIN, director Rowland V. Lee unleashed a maniacal Basil Rathbone in this unusual thriller that's not really a "good film", but is still pretty interesting and serves up a delicious climax if you can wait it out. Rathbone plays a suave ladies' man who charms his way into the life of a young woman who's just won the lottery. They get married, and only then does the woman realize her husband is not what he seems and may have half his screws loose. If you don't love Basil's insane performance in SON OF FRANKENSTEIN, this will probably drive you even crazier; but if, like me, you think he's more fun than a barrel of monkeys when he lets it all hang out, this one is for you. The battle of wits at the end between Ann Harding and Rathbone has got to be seen to be believed! This one's a must if you love Basil Rathbone, and no Rathbone fan should dare miss it. **1/2 out of ****

Love from a Stranger (1937)

*** (out of 4)

A poor woman (Ann Harding) wins the lottery and soon she's swept off her feet by a nice man (Basil Rathbone) but after they're married she begins to think he has a few secrets including murder. Director Rowland V. Lee does a good job on this story by Agatha Christie and builds some nice atmosphere, which helps matters. Harding is very good in her role but the real key here is Rathbone who, as later in Son of Frankenstein, goes through a nervous breakdown, which is wonderful to watch. Some might call it over the top but I think he does a good job at showing the character losing his mind. Some slow segments hamper the film but the ending certainly makes up for that.

An extraordinarily entertaining thriller. The acting is melodramatic, and rightly so. A clever plot by Agatha Christie (how could it be otherwise?) keeps things moving along at a rapid clip. Two wonderful players -- Basil Rathbone and Ann Harding -- give bravura over-the-top performances that are breathtaking in their high-wire daring. Ann Harding especially was a revelation -- a gorgeous blonde with poise and class who had beautiful diction -- an American mid-Atlantic "Seven Sisters" voice that was as melodious as a cello. Basil Rathbone never ceases to amaze. Here, he is frightening and charming simultaneously. And two cheers for the Art Deco furnishings that grace one scene. Were those Lalique glass-paneled doors?

All right, it creaks a bit, now, and suffers from the staginess which afflicted many if not most British films of this period, but the Agatha Christie plot (with a strong family resemblance to that other hyper-theatrical melodrama, "Gaslight") is gripping, and the necessary claustrophobic atmosphere is established and maintained -- with help from the excellent score from a very youthful Benjamin Britten (I have, by the way, never come across a reference to this early effort in any Britten biography; it is unmentioned in the long article in Grove's Dictionary). Most of all, it's worth seeing for the terrifying performance by Basil Rathbone, which again reminds us what an accomplished and versatile actor was all-but obliterated in his later absorption into Sherlock Holmes. No goalie-mask, no retractile steel claws, no camera-tricks, he scares the pants off you using only an actor's equipment, and you'll never forget his portrayal of a psychotic, obsessive Bluebeard.

This is based on an Agatha Christie story and contains some of the most histrionic acting I've ever witnessed. I never knew that anyone could go so far over the top and not shoot out of the frame and into space.

The basic plot concerns a young woman who wins a lottery and soon after meets and falls in love with a "stranger", played by Basil Rathbone. Rathbone's intentions are far from happy and it all winds down to a conclusion that allows... well lets just say you will wonder about everyone's sanity.

I'm not sure I liked this. Its good, but it takes a while to get going. Once its moving its fine but even then I was never really content. I want to say that its oddly British, but its not so much that its British as mannered. I like that you have the pure unrestrained emotion in the final act, but at the same time compared to the earlier low key nature of it I was wondering how many coffees the cast had.

Frankly I'm reserving my final judgment until I see it again.

Even with all of that said and done I suggest you do see this movie- and stay to the end. Unless you've seen this before, I'm certain you've never witnessed what Basil Rathbone was truly capable of. I won't try to explain that statement, I'll let you search this out and see for yourself.