Stranger on the Third Floor

Reporter Michael Ward (John McGuire) gives testimony at trial that helps convict an innocent man of murder. Now Ward finds himself in a similar situation, accused of a murder he didn't commit. His girlfriend Jane (Margaret Tallichet) sets out to find a creepy stranger (Peter Lorre) seen lurking about on the night of the murder.

Despite being top-billed, Peter Lorre is not in this much. But when he is in it, he's really creepy and weird in that Lorre way we all love. Also, I loved Elijah Cook as the poor sap wrongly convicted at the start of the movie. Often cited as the first film noir, this is a very cool murder mystery that effectively uses flashbacks and dream sequences. It has a lot of style for a B movie that barely runs an hour. Just goes to show you don't need 2 1/2 hours to make a good movie, something today's filmmakers should learn.

The Film Noir Encyclopeia lists Stranger as the first true film noir. It's not hard to see why. The lengthy interior dialog, the grotesque dream sequence, and the expressionist lighting, all bespeak the arrival of a noir universe. Over the next ten or so years, this European style would encompass a number of film genres, seeping even into that most American of all, the Western ("Blood on the Moon", "Roughshod", et al.). I can only imagine how 1940's audiences greeted this abrupt departure on first showing.

Except for Lorre, it's a no-name cast, although Tallichet makes for a charming leading lady with a captivating smile. The absence of a familiar face (John McGuire) in the male lead actually helps. Instead of seeing a celebrity in a starring role, we see an unknown that might even be us. And so, both he and we are drawn deeper into a nightmarish web of guilt. Notice how the lighting becomes steadily darker as McGuire's anguish deepens, with shadows that are almost all appropriately angular and threatening. Also, note director Ingster's very real feel for the ethnic vibrancy of a New York street even though it's recreated on an RKO sound stage. This sense of a community life outside the third floor makes for an interesting contrast with McGuire's growing inward turn.

Too bad the script fails to match the visuals in imagination and stylishness. It's really pretty conventional, except for the nicely ironical twist of having the jury-trial deficiencies turned back upon McGuire in the dream sequence. Good thing they had Lorre outfitted with buck teeth and doing an exquisitely loony menace, because the climax itself is very unimaginatively staged. It could have come from a thousand other more ordinary films. Anyway, for fans of noir and movie historians, this obscure little production remains essential and entertaining viewing.

Taut, weird psychothriller centers on a novice newsman who's been promoted because of stories connected to a murder to which he's the only witness. His testimony gets the innocent man (Cook, Jr.) convicted, as he discovers when his neighbor is killed by the same man (Lorre) -- who the police refuse to believe exists. In fact, our hero is now suspect #1 in the crime he was covering. His loyal girlfriend, god bless her soul, sets out to track Lorre down, even though she's never seen him.

Good low-budget noir, VERY short. Excellent photography, very odd dream sequences.

The story narrates as a journalist is witness of an assassination and his testimony is essential for accusation of the crime by a cab man convict (Elisha Cook Jr.) . He posteriorly has nightmares on sense of culpability and doubting the events and reflecting himself at surprising dream sequences . Other murders happen and the principal suspect is the reporter , who united his sweetheart will try to probe the innocence confronting a rare and odd character (Peter Lorre).

It's a classic RKO thriller film , where intrigue and tension is developed from the beginning until the end . Picture is deemed by some critics the first noir movie . The pic has the expressionist Germanic atmosphere , besides is Peter Lorre (actor usual from these films : ¨M¨ the Dusserfold vampire) with his typical interpretation as a quirky and bizarre villain . The suspense appears threatening and lurking in every street , room and stairs . The run movie is short-time for that reason is quickly seen , approximately is one hour . Photographer Nicholas Musuruca (Cat people) makes an excellent camera work , joined to John Alton are the fundamental artificers of the particular atmosphere in Noir films . Cinematography is extraordinary , lights and shades settings depict that type of cinema creating eerie scenarios . Roy Webb's (habitual musician of RKO) score is fine . Nifty direction by Boris Ingster who made scarcely movies later . The flick will appeal to noir cinema moviegoers.

I've read the other comments here and I have to agree most of them.

Margaret Tallichet was, in my opinion, excellent in her role. It is unfortunate that she retired from the screen so soon, after marrying the famous director William Wyler - a successful marriage.

John McGuire was eye candy in this film. His performance, while not absolutely terrible, was sadly short of those presented by the grand array of talent about him.

Peter Lorre, who started in silent films, always managed to say as much with his expressions and he ever did with his lines.

It is undoubtedly film noir, and I can't recall any film noir (American) as early as this one (1940). I was a late comer to the appreciation of this genre - it sets a mood that I used to find disturbing when I was young.

Definitely worth a viewing.