Le criminel

The IMDb trivia page says this is Orson Welles's least favorite and least personal film. Aside from "Citizen Kane" and "The Magnificent Ambersons," I think this potent film noir is his most enjoyable—certainly more so than the ugly "Lady from Shanghai" or the overbaked and convoluted "Touch of Evil."

Charles Rankin (Orson Welles) is a professor in a respectable Connecticut town about to marry the daughter of a U.S. Supreme Court justice. But his name is fake and his past is filthy. An earnest convert to Christianity (Konstantin Shayne), who once ran a Nazi concentration camp, is capable of exposing him. "Rankin" kills this little old man and buries his body in the forest. But he isn't safe because an investigator (Edward G. Robinson) from the War Crimes Commission is on his tail. Rankin needs his own wife (Loretta Young) to help him elude capture. But his fascination with the local clock tower may prove his undoing.

As a director, Welles strains a bit too hard for effect in this film—and much too hard in everything but "Kane" and "Ambersons." In those two films all of his technical effects, striking as they are, seem effortless and exactly the right choices. Here, he has imperfect moments—such as the scene where his character is frantically, and inexplicably, trying to pick up pieces of paper—but everything else is splendid, especially the climax.

As an actor he's always compelling, but I think he makes one bad choice here. He's too guilty-looking in the early scenes. It makes us wonder why no one suspects him; and it robs us of a dramatic contrast when he begins to realize he's in imminent danger.

Loretta Young is generally a dull actress. She doesn't have enough skill to make an impression in the early scenes; but once the part requires histrionics she performs her duties well enough. Certainly her character is morally dubious and therefore fascinating in itself.

The best performance by far is Edward G. Robinson's. One of the great actors of his time, this ugly man has enough talent and star quality to underplay his role to great effect.

Orson Welles fans might find this exciting, well-plotted thriller too un-Wellesian to suit them. Otherwise, this is highly recommended.

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.

Who says that fear of terrorism is a new development, post 9/11. Imagine the fears and exposed nerve endings of the average towns person living in the shadow of World War II. There was the fear of infiltration by the Nazis with their secret agents, blending in with our everyday citizens. Orson Welles plays just such a guy. He is kind, pleasant, quiet, and very dangerous. He even sets about marrying a woman as part of his secret plot. Edward G. Robinson, who normally would have been the heavy, plays a tired, hard working investigator who is leaving no stone unturned. The plot is intricate, though predictable, and the whole thing is hard to take your eyes off. Welles was a great director, but perhaps an even better actor. He keeps this thing going, raising it above the common fair of the time. The writing keeps the good guys at bay, but the clues continue to sit there, ripe for discovery. The clock tower is a great symbol, continuing to remind us of the urgency of everything. The dramatic irony presented makes us continually uncomfortable. We are treated to the movements and activities of the villain, and being let in, it makes everything more enjoyable. See this if you can.

Infamous Nazi war criminal called Franz Kindler (Orson Welles) assumes a new respectable identity in a Midwestern little town following WWII , unaware that a government agent (Edward G. Robinson) from the Allied War Crimes commission patiently stalks him . But his name is fake and his past is tenebrous . The escaped Nazi sedately living and is about to marry a beautiful as well as unsuspecting young woman (Loretta Young) , daughter of a prestigious judge (Philip Merivale) . But later on , Kindler feels his past closing in and he will need his own spouse to help him elude capture .

Interesting Welles movie with plenty of thrills , fine character studio , terrific interpretations and suspense from start to finish . It holds the viewer's interest but admittedly has some flaws , naive moments and wobbles . But it is studded with splendid scenes like the furtive flight across the dockyards at the beginning , the killing in the forests and the final confrontation on the clock tower including the sword wielded mechanical figures that move when the hour begins to strike . The vast New England town exterior sets, including the church with its 124-foot clock tower, were constructed in Hollywood on the back lot of the United Artists studio located on Santa Monica Blvd . Shocking scenes when are shown images about Nazi crimes , in fact it was the first mainstream American movie to feature footage of Nazi concentration camps following World War II . Nice acting by Orson Welles as a Nazi criminal who feels fascination with antique clocks and sedately esconsced in a small Connecticut town when an investigator is tailing him . Edward G. Robinson is perfect as a Federal agent out to get him . However , Orson Welles originally wanted Agnes Moorehead to play the FBI part , then the studio said no and instead gave him Edward G. Robinson . Furthermore , Loretta Young as attractive wife and Richard Long as brother give nicely understated interpretations . Suspenseful and thrilling musical score by Bronislau Kaper . Extremely well made camera-work throughout ; being shot in black and white filled with lights and darks by excellent cameraman Russell Metty . It is also available in horrible computer-colored version .

¨The stranger¨ was efficiently produced by Sam Spiegel and well directed by Orson Welles in 95 minutes runtime , being the only film directed by him to show a profit in its original release . However , Orson has stated that this is his least favorite of his films . Welles was a genius who had a large as well as problematic career . In 1938 he produced "The Mercury Theatre on the Air", famous for its broadcast version of "The War of the Worlds" . His first film to be seen by the public was ¨Ciudadano Kane¨ (1941), a commercial failure , but regarded by many as the best film ever made , along with his following movie , ¨The magnificent Ambersons¨ . After that , he directed this ¨The stranger¨ with an over-pitched acting by the same Welles and often described as his worst . He subsequently directed Shakespeare adaptation such as ¨Macbeth¨ , ¨Othelo¨ and his highly enjoyable ¨Chimes at Midnight¨ or ¨Falstaff¨ . He also performed a lot of films , Orson Welles interpreted for getting financing to shoot his pictures , as he played several exotic characters such as ¨The Tartari¨ , ¨Saul¨ , ¨Cagliostro¨ , ¨Cesare Borgia¨ and ¨Black rose¨ . Many of his next films were commercial flops and he exiled himself to Europe in 1948 . In 1956 he directed ¨Touch of evil¨ (1958) ; it failed in the U.S. but won a prize at the 1958 Brussels World's Fair . In 1975, in spite of all his box-office failures , he received the American Film Institute's Lifetime Achievement Award , and in 1984 the Directors Guild of America awarded him its highest honor, the D.W. Griffith Award . His reputation as a film maker has climbed steadily ever since .

This film has been knocked by many people saying that Orson Welles was forced to work within the strict confines of the Hollywood system. I have absolutely no problem with this. Welles is a master craftsman. He made great films, period. In an interview he said that the studio cut out " a couple of reels" that take place in South America at the beginning of the story that he felt was the best part of the movie. As a viewer I feel that the film is compact and taut. Adding more to it would not help(in my opinion). On the contrary, I think adding more might make the film sluggish. As it stands the film remains dark. You feel that evil is present. You are just not sure what is going to happen next.

The performances in this film are for the most part excellent. Edward G. Robinson is amazing. This could have been a cardboard thin good-guy part. Instead he turns the character of Wilson into a smart, cunning hero. He is self-assured not obsessed. He understands what most people in the town don't: Kindler is a monster who is capable of anything. To catch such a man you have to be several steps ahead of him. Also excellent is Konstantin Shayne as Meinike. You can see the fear and madness in his eyes as he repeats "I am travelling for my health, I am travelling for my health..." before going through customs. Make no mistake, this man is "an obscenity that must be destroyed" to quote Wilson. Just look at his scene with the photographer in South America. He is used to people following his orders. Welles is also very good as Kindler/Rankin. There are moments that you actually feel sympathy for him. His obsession with fixing the town clock is very significant. Here is a man who needs things to be precise and structured. He wants total control of his environment(a good example is how he treats his wife). Welles hints at this man's mania but keeps him human. Even though you want him to be caught, you can't help wondering if he'll get away. Loretta Young is unfortunately just average in this film. She has some good moments (especially in the final scene when she confronts Rankin/Kindler)but her hysterics are just too much. The scene where Wilson is showing her the Nazi atrocities is well played. She keeps a certain composure that works well.

Overall, a very well made thriller with top notch performances and solid direction by one of cinema's masters. I give it 8 clock towers out of 10.