Walk Softly, Stranger

This forgotten gem was of interest for a number of reasons.

First, it's directed by Robert Stevenson, the man responsible for a superb thriller, To the Ends of the Earth (1948) with Dick Powell in the lead. Steveson, however, has a long list of fine films to his credit, beginning (for me) with Tom Brown's Schooldays (1940), all the way to The Love Bug (1968) and Herbie Rides Again (1974) – if you like fantasy comedy...

But second, this film echoes the matching of Cotton and Valli in The Third Man (1949), arguably one of the best film-noir made (directed by Carol Reed, of course). Reading the additional information about this film, however, I learnt that it was actually made before The Third Man but keep on ice for two years.

In this narrative, however, Cotton as Chris Hale breaks the mold of the bashful, loyal and trustworthy good guy he was known for in so many previous movies. That is, while this is certainly another of the film-noir genre, it doesn't have a femme fatale: Chris Hale is the homme fatale – the man with the fatal flaw in his past, and the one that catches up with him.

In contrast, Valli as Elaine Corelli is the broken rose: a woman of substance and great beauty but, because of a tragic accident, unwilling to expose herself to potential failure again, especially in matters of the heart. When Hale turns up, however, she is drawn to him, despite her misgivings at first.

Arguably, she should have listened to her head because Hale has a hidden agenda – in fact, that's why he's in Elaine's town where her father practically owns it: Hale wants to stay hiding in plain sight, as a model citizen, because he thinks the guys he robbed a while back – gangsters who ran a casino in another state - will never find him... More fool he, because his ex-buddy turns up to ask for a handout – and so, Hale's cover is blown and it's only a matter of time before the killers follow.

What follows then are Hale's attempts to get clear of the bad guys and redeem himself with Elaine; so, I'll leave you to enjoy that denouement. When you do, watch for the great sight gag that includes the words: "Next time, go by air", a moment of levity that foreshadows an ending that is, if not entirely happy, at least shows promise of hope.

Cotton does an excellent job as a calculating, unflappable and competent con man who gradually sees the need, within himself, to change his ways; Valli once again exudes troubled emotions and repressed sexuality with great finesse; that great character actor, Paul Stewart shines as the craven Whitey Lake, Hale's buddy; and John McIntire appears, for once, as not a cop – as In Psycho (1960) - but as an office manager, Morgan. And, let's not forget Spring Byington who plays...well, Mrs Brentman/Spring Byington, the landlady.

Recommended for all, especially for film-noir fans.

Walk Softly, Stranger may not be the most memorable slice of classic cinema of all time, but even so; Robert Stevenson's film offers an interesting tale of redemption and retribution, despite not being at all innovative. The film stars Joseph Cotten as a man who travels to a town called Ashton. He quickly becomes friendly with the locals, and tells them that he once lived there as a boy. His friendship with a young wheelchair-bound lady named Elaine Corelli, daughter of a successful factory owner, proves his most fruitful. But people's pasts have a habit of catching up them, and the man's gambling exploits are his weakness. The fact that this film stars Joseph Cotten was my main reason for seeing it. The man has a great screen presence that blends excellently with film noir. His performance here isn't one of his best, but he does well at hinting at a sinister side to his character just below the surface. He is joined by classic actress Alida Valli, who is most notable to me for the fact that she was one of the leads of Dario Argento's masterpiece 'Suspiria'. The plot flows well throughout, and while it's never too full of surprises; and the ending doesn't live up to the beginning, the film still offers 80 minutes of decent entertainment.

Returned earlier this year to watching more classic/golden era films. Especially film noirs, mystery thrillers and silent film. There are always two common reasons for seeing any film or television series for this reviewer. One is if the premise sounds promising, 'Walk Softly Stranger' applies here. The other is if there is a talented cast, again this applies here, having seen Joseph Cotten and Spring Byington in other things and liking their work. The genre also appeals.

'Walk Softly Stranger' is another one of those recent discoveries long put in my watchlist but only got round to watching recently. It's another one that left me mostly impressed if not jumping out of my chair in rapture. For what it is, it is well done and executes almost all its components more than solidly. But it also misses out on having the extra something. Definitely recommended and another film that doesn't deserve its seldom seen status, just not quite an essential.

It is a long way from perfect. Did feel that it is melodramatically scripted at times, especially later on, and that it could have done with more momentum.

There are not an awful lot of surprise and the suspense isn't as strong in the final act. Coming off worst is the ending, which is very mawkish and completely at odds with the rest of the film (pretty much too much like it was lifted out of another).

However, what particularly makes 'Walk Softly Stranger' is the acting, which is very good. Cotten is beautifully restrained and amiable and Byington is solid support in a type of role she always played well. Best of all is poignant, sympathetic Alida Valli as the most fleshed out character that goes from one main personality to another as the character evolves seamlessly and gains our sympathy from start to finish.

It is filmed with a good sense of slick style and moody atmosphere and is crisply directed. The music and sound quality don't get over-bearing and suit the mood very well. The script is tight and gritty as ought and the story compels and has the right amount of intricacy. Some nice tension too and while the drama is rather subdued it did have me invested.

Overall, good but not great. 7/10.

Ever wonder what happened after Anna walked past Holly Martins in the final shot of the 1949 masterpiece The Third Man? Well, apparently, Holly followed her and broke her legs...

In Walk Softly, Stranger, Joseph Cotten plays a crook who assumes a new identity in a small town in order to start a new life. Gangsters whom he robbed are after him, and with the money he stole he believes that he can live a peaceful life. In this town, he meets a young paraplegic woman played by Valli. She was also a gambler, but her wild days were over after she took a tragic spill while skiing. The two begin to fall in love. It's probably the only time a disabled character ever had a major role as a love interest in classical Hollywood. Heck, if someone were to play the same role today, she'd probably win an Oscar! Soon, Cotten's old partner turns up in the town broke, begging for more money. He accidentally let spies track him.

The film is very low-key. In fact, it may be too low-key. The romance between Cotten and Valli is effective. It's difficult to know whether or not he is just taking her for a ride for a long time (she's wealthy). The dialogue is sometimes quite clever (and, then again, it's also sometimes too clever). It's the crime part of the picture that's particularly pedestrian. And the end is kind of lame. All in all, it's only 80 minutes long, and it's entertaining enough to maybe sustain that. Valli and Cotten were so much better in The Third Man, but fans of that film might delight in seeing the two as a couple here. Still, with the way that The Third Man ends, it's actually a little disappointing seeing the two actors on screen. The final scene of that film should have been the final word. 6/10.

Walk Softly, Stranger is directed by Robert Stevenson and written by Frank Fenton. It stars Joseph Cotton, Alida Valli, Spring Byington, Paul Stewart and Jack Paar. Music is by Frederick Hollander and cinematography by Harry J. Wild.

Chris Hale (Cotton) arrives in Ashton, Ohio, with manipulation and a robbery on his mind. But when he meets wheelchair bound Elaine Corelli (Valli), it alters the course of his future plans…

It's the other Cotton and Valli movie, the one that isn't The Third Man. It's also the movie hat marked the wind of change at RKO as Howard Hughes breezed into the studio and promptly set about putting his own stamp on things, badly as it happens. Walk Softly, Stranger on the shelf for two years and subsequently got released in 1950, no doubt due in part to the success of The Third Man the year previously.

It's a strange blend of romantic melodrama – cum thriller – with some film noir edginess, something which doesn't all together work. It's very slowly paced and settles into a mood approaching disquiet, a femme fatale of sorts is nicely set up, and the whole "just one last job" vibe keeps interest in the story high. Acting from Cotton and Valli is strong, Paul Stewart is as usual good value when playing a twitchy loser bad guy type, and Byington almost steals the film from the leads with an ebullient show as the widow Brentman.

Unfortunately, come the final third the picture fails to deliver on its moody promise, choosing instead to rely on one action set-piece and a waft of optimism for pic's closure. It's not the pay off required or hoped for, a shame because as a production in general it's of good quality. 6/10