User reviews

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.

Peter Lorre is the "Stranger on the Third Floor" in this B movie from 1940 that stars John McGuire, Maria Tallichet (Mrs. William Wyler) and Elisha Cook, Jr. McGuire plays Mike Ward, a reporter who is the key witness in a murder trial that ends with the defendant (Cook) being found guilty. The man's protestations of innocence make an impression on Ward's fiancée, Jane, and it causes a rift between them. Back in his rooming house, Mike realizes that his nemesis next door isn't snoring as usual. Looking out of his room, he sees a man (Lorre) hanging around on his floor. Unnerved from the trial and from Jane's attitude, he begins to think his neighbor is dead and fantasizes that he could, though innocent, be put in the same position as the man he testified against and accused of murder. Then the nightmare turns into reality, and it's up to Jane to try and find the stranger - who killed in the same manner as was used in the murder case just tried.

This is a pretty interesting story with decent performances by McGuire and Tallichet, who retired after the birth of her second child with Wyler. Facially, she is a cross between Ella Raines and Jane Russell, though she gets no glamor treatment in this. Sitting down to watch the film, I was visualizing something like "M" or "The Lodger" - in reality, Lorre doesn't have much to do at all. He does, however, act strangely very well.

Some wonderful photography and interestingly filmed sequences, and a really sweet ending. Catch it the next time it's on TCM.

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.

This is a classic B (not a quality-judgment, but a well-defined production level that existed before the legal consent-decree that ended studio ownership of movie theaters in the early 1950's. B-movies were lower-budget features, between 55 and 70 minutes, using second tier talent - rising actors or ex-stars on their way down - designed to play the bottom half of a double-feature with an A-picture. The studios needed to produce a certain number of these pictures to keep their theaters supplied, and the quality was only of second importance.) Very often, the low budget gave the filmmakers a certain freedom, because the studio wouldn't keep very tight control on a production of such relative unimportance. B- movies sometimes served as the canvases for highly innovative directors and photographers. (Note that the talent behind the camera includes both the (uncredited) work on the script by no less than Nathaniel West, author of DAY OF THE LOCUST, and cinematography by Nicholas Musuraca, who went on to shoot such atmospheric classics as CAT PEOPLE, CURSE OF THE CAT PEOPLE, OUT OF THE PAST, and the vastly under-appreciated psychological thriller THE LOCKET.)

The late William K. Everson, a fanatical private film collector and one of the greatest film historians, used to show this picture in his B-movie class at NYU as an example of "Films made on one set." The one set in this case is the street scene, although the staircase of the apartment building is also prominently featured. The street was, of course, a standing set that appeared in many films. But if you watch the film carefully, you'll realize that many of the other settings are hardly more than lighting effects on a bare sound-stage. The so- called "surrealism" of the film is a triumph of turning low-budget necessity into an effective style.

As to the claim that it's the first film noir, that's pretty questionable. Film noir really was born in France in the late 30's (there's a reason why the term is French). "Le Jour Se Leve" is probably the best-known example. It was characterized by the dark settings as well as the dark pessimism of its mood, using shadows to separate people, and to fragment the image of the individual. This is certainly an early American film noir, once again because of the spareness of budget forced the use of shadows to hide the lack sets.

This is a very enjoyable, effective thriller, taking us from a rather mundane, plausible reality into a wild nightmare. Lorre's brief appearances become the engine of the fears, that frightening presence you expect to find in every shadow.

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.

The reporter Michael 'Mike' Ward (John McGuire) is promoted in the newspaper when he becomes the key witness of the murder trial of Joe Briggs (Elisha Cook Jr.), a young man that he had seen threatening the victim Nick in his coffee shop and then leaving the place with Nick with sliced neck. Joe swears innocence and despite the circumstantial evidence, he is convicted and sentenced to the electric chair. Mike's fiancée Jane (Margaret Tallichet) feels uncomfortable with the sentence and believes that Joe might be innocent. Mike loses his confidence and feels remorse for his testimony accusing Joe.

One night, Mike brings Jane to his room and his nosy neighbor Albert Meng (Charles Halton) brings the landlord that expels Jane from the boarding house. Mike threatens Meng and later he sees a stranger with bulging eyes (Peter Lorre) on his floor that runs away from him. He has a weird nightmare and when he wakes up, he finds that Meng is murdered with sliced neck similar to Nick. Mike calls the police and is arrested as prime suspect of both murders. Jane seeks out the stranger on the streets to save her fiancé.

"Stranger on the Third Floor" is considered the first film-noir of the cinema history. The story is engaging, supported by magnificent cinematography, and the sequence of Mike's nightmare is fantastic. Peter Lorre is creepy and the conclusion is naive on the present days. My vote is seven.

Title (Brazil): "O Homem dos Olhos Esbugalhados" ("The Man with Bulging Eyes")

This is an unusual short 'noir' film with a lot going for it. Visually, it is quite imaginative, especially in the long dream sequence. It makes me wonder why Boris Ingster didn't direct more films. (He's best known for being one of the producers of TV's "Man from U.N.C.L.E." show.) It's got a tense score by Roy Webb, and a superb villain in the person of Peter Lorre, who for the most part hovers at the edges of the film.

The biggest weakness are the two lead characters, who are likable enough but not visually or emotionally compelling. The script is unusual, because it's not so much a mystery as it is a social commentary: How easy is it for an innocent man to be condemned? That issue weighs so heavily on the main character that he launches into an extended surrealistic dream sequence with marvelous lighting effects and some new spins (literally) on the "spinning newspaper" device.

The trivia section about this movie reveals that Peter Lorre only had two days of shooting on this film, which explains his limited appearance. But when he's on, you can't take your eyes off him. He's back in psycho killer mode (as in "M"): just watch his facial and bodily expressions in his long scene with the girl in the last few minutes. And check out the hillbilly teeth! Who's decision was THAT? Also in small roles are Elisha Cook, Jr., who went on to appear in virtually every significant television show from the 50s through the 80s, and Charles Halton, as the despicable weaselly neighbor. This film is definitely worth spending an hour with.

This is a taut psychodrama that some claim was the first film noir. Though that is a dubious dub, it is still a worthwhile contribution to the genre. Although the premise is intriguing, a key witness in a murder case is himself drawn into a similar murder situation where he may become the accused, there still seems to be something lacking. The film becomes very uneven in its presentation and the creepy ending involving the great Peter Lorre suddenly sizzles as all the loose ends come together much too quickly. One is left with the feeling that the movie was disjointed and jagged. The dream sequence in the middle is somewhat feeble by today's standards. I'm sure it was much better when first seen in 1940. Actually there are two attractions in the movie that make it so compelling. One is the use of a single set with actors the audience would probably not recognize. Except for Peter Lorre who has a small but effective role and Elisha Cook Jr.who does his usual fine job, the actors seem to be the actually denizens of the neighborhood. The other attraction is the amazing cinematography, the wise use of shadow and shade, especially in the brilliant staircase scene when Peter Lorre runs downstairs to escape John McGuire. Rain is always an important element in film noir. It is used in "Stranger on the Third Floor," but in one scene only and then very sparingly. The script has moments of greatness but also moments of saccharine mediocrity. With just a little more effort, this film noir would have been a classic.

Now considered by many to be the very first true film noir, this dark and strange RKO B movie features a classic Peter Lorre creepy psycho performance and an eerie and extended hallucinatory Expressionistic nightmare sequence.

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.

Michael Ward (John McGuire) gets a big raise for writing a big newspaper article against Joe Briggs (Elisha Cook Jr.) in his murder trial. Joe insists on his innocence but gets convicted solely on Michael's testimony. Michael starts having second thoughts. A stranger (Peter Lorre) breaks into his room. When his hated neighbor gets killed, Michael suspects the stranger and becomes concerned that he could be railroaded like Joe. His girlfriend Jane may be the only one on his side. She goes searching for the stranger with only a vague description.

I like the first hour or so of this movie. It's an interesting murder mystery premise. The Kafkaesque surrealism is a little confused but I'm willing to go with it. Michael going to the police is problematic. He's being too clueless. Then the movie goes into a quick wrap-up mode and ends quickly a few minutes after an hour. Did they run out of film? Lorre never explains what happened. It's all wrapped up with a giant fake bow. This has some intriguing neo-noir aspects despite a rather bland lead couple. Lorre makes up for any flaws with his weirdness. I just don't know about the truncated third act.

Early noir thriller with some neat, inventive camera-work by director Boris Ingster, a subtly creepy performance by Peter Lorre, some third-rate dialog even for 1940, and some horrible acting leads. I have ambivalent feelings toward the film. On the one hand, the direction is very evocative for its time. Ingster knows how to create suspense and uses pace nicely throughout. Ingster uses light and shadow in true film noir fashion. Some scenes are quite chilling. In particular any of the scenes with Lorre and a long but effectively shot dream sequence. Lorre has a small but central role in the film - not saying a word till the last third of the film. He uses his looks, described as "thick lips, buggy eyes, and a white scarf" in quite a deranged menacing yet gentle way. He was quite an actor! That being said, the film has some, for me at least, major drawbacks that seriously flaw it. John McGuire and Margaret Tallichet are the leads, a reporter who witnesses not one but two murders and his soon to be wife. Both could have used some acting lessons as neither is impressive in front of the camera. In fact both are pretty awful to be honest. Thankfully the character acting of the likes of Elisha Cook Jr., Charles Halton, and a slew of professional character actor types ably assist. The dialog is weak and insincere from the leads, and as they make up a huge percentage of the film - this is a major weakness. If only Mr. Lorre could have been in the film more. But if one brushes aside the ludicrous performances of Tallichet and McGuire, one should enjoy the film for its artistry and Lorre's wonderfully short portrayal of a man with a misplaced heart and a diseased mind.

I was curious to see 'Stranger on the Third Floor' when it was recently shown on TV after I read it described as "the first Film Noir". Whether it actually is that or not I'll leave up to more knowledgeable film fans to argue over, but whatever you call this movie it is a very interesting and strange thriller that deserves a lot more attention. Part courtroom drama, part murder mystery, with a memorable dream sequence, you can't but help wonder if David Lynch is extremely familiar with this film (something I also thought while watching 'Kiss Me Deadly', 'Carnival Of Souls' and 'Branded To Kill'). John McGuire plays a reporter who is the key witness in a murder trial. After finding a neighbor dead and noticing a mysterious figure lurking nearby (Peter Lorre) he comes to believe that the man convicted (Elisha Cook, Jr) is innocent, and sets out to clear his name. I really love thrillers that are stylized or nightmarish and become borderline surrealism, and this is one of those kind of movies. It isn't without a few flaws, but I still found it to be fascinating and really enjoyed Cook and Lorre's performances, though sadly I don't think they actually have any scenes together.

Watching 'The Stranger on the Third Floor (1940),' I was conscious of being present at a birth: the birth of film noir, at least in its most readily recognisable form. As if to announce impending delivery, the film's title is superimposed over the classically noirish image of a man's figure – silhouetted behind a pair of blinds – smoking contemplatively at an apartment window. Boris Ingster's visual sensibility, with cinematographer Nicholas Musuraca, is very strong, despite a relatively slight budget; the film's centrepiece dream sequence is a grippingly-surrealistic succession of nightmarish pessimism, as the story's minor hero is swept along towards execution by the cruel, indifferent hand of fate. Even so, it is still a rather shaky start for a movement that would, for the following two decades, shape and define American cinema. I don't expect that 'The Stranger on the Third Floor,' a low-budget nonentity, had all that much influence on its successors – I suppose that 'The Maltese Falcon (1941)' and 'High Sierra (1941)' were responsible for most of that.

Ingster obviously filmed his picture on a very modest budget; Peter Lorre only appeared because he owed two extant days on his RKO contract, and the extra short running-time suggests a production filmed on the cheap. Perhaps fortunately, the filmmakers recognised that 64 minutes was inadequate time to attempt anything elaborate, and so the film dedicates itself towards one basic idea: the fallibility of circumstantial evidence. This notion is drilled so emphatically that its message comes across almost as a public service announcement. In many film noir pictures, there is more than meets the eye – in this one, what you see is exactly what you get. I had been hoping that the annoying neighbour's murder would ultimately be revealed as an act of violence committed subconsciously by Mike Ward (John McGuire) in his sleep, but, alas, Ingster would probably have considered even the suggestion an insult to his film's noble message.

The cast of 'The Stranger on the Third Floor' is largely average at best, with only top-billed star Peter Lorre (in virtually a cameo role) managing to liven up the proceedings, as usual. The two main co-stars, John McGuire and Margaret Tallichet, do adequately in the film's more relaxed moments, but introduce a dramatic situation and suddenly they become wildly theatrical, exaggerating every emotion to the point of self-parody. Of course, Lorre does this, as well, but he's one of the few actors who've ever been able to pull it off. Channelling his tormented child-killer in Fritz Lang's 'M (1931),' Lorre brings a similarly-tragic pathos to this role; not an entirely frightening character, but quite obviously insane, and liable to do anything. Elisha Cook, Jr. – the mistreated stooge that no noir should be without – attempts rather unsuccessfully to show some sincerity (though he reminded me of Mickey Rooney in a couple of scenes), but he's always been better when playing the faux tough-guy who inevitably catches a bullet in the back.

A fast rising reporter (John McGuire) is worried that his testimony in a murder trial may have been false.

Often called the first film noir, Stranger on the Third Floor. I watched this for Peter Lorre, but he's barely in it, and instead we're treated to the horrible acting of John McGuire in the lead. Despite being 65 minutes long, it drags horribly, with a pointless nightmare sequence and enough plot holes to sink a ship. Oh, and there's Elisha Cook hamming it up as the falsely accused man; I had to laugh when someone said his character was "just a kid".

Margaret Tallichet is good as McGuire's girlfriend, and Peter Lorre is excellent as always. The final sequence with Tallichet and Lorre is well done, but not enough to save the film. Overall, I'd recommend this to film noir completists only.

Credited by cinema historians as the first genuine film noir, this memorable little thriller made its mark by adding a refreshing splash of neo-expressionistic design to its pulpy essence, making what might otherwise have simply been a routine crime story that didn't make a lot of sense into an intriguingly surreal journey into fear. The prize in the package is of course Peter Lorre, an improbable boogeyman in a natty little scarf whose wonderful, ridiculous climactic mad scene sells the whole film.

Reporter Mike Ward's testimony sends Briggs to the electric chair for the gruesome murder of a luncheonette owner. He feels remorse over the fact that the evidence was circumstantial and Briggs may have been innocent. Arriving home he sees a creepy looking stranger leave his next door neighbor's apartment and then starts to wonder when he doesn't hear his neighbor's snoring. He suspects that his neighbor, Meng, may be dead and that he might be convicted of the crime. After a bizarre dream, he feels that he was just on edge and they everything is all right. This is all dashed when he finds his neighbor dead and then runs to his girlfriend, Jane, looking for answers. He returns to his apartment and thinks that Meng and the Briggs murder may be the work of the same man, but the police feel that Mike may be the killer. Can Jane find the mysterious stranger in time to help Mike, before the stranger strikes again? Good movie with some great flashback sequences and one very surreal (and well done) dream sequence. Lorre was only fulfilling a contract with RKO and has little to do in the movie but is very effective as the stranger. The rest of the cast may be only Hollywood bit players, but are perfectly cast in their roles. Great ending. Rating, 8.

Stranger on the Third Floor is directed by Boris Ingster and co-written by Frank Partos and Nathanael West. It stars Peter Lorre, John McGuire, Margaret Tallichet and Elisha Cook Jr. Music is by Roy Webb and cinematography by Nicholas Musuraca.

Michael Ward is a news reporter who is the key witness in a murder trial. His evidence, circumstantial at best, is instrumental in getting a guilty verdict delivered on suspect Joe Briggs (Cook Jr.). When his girlfriend Jane (Tallichet) casts doubt over Briggs' guilt, and his part in the evidence, Michael becomes haunted by the fact he may have sent an innocent man to death row. Things further compound his troubled mind as a sinister stranger is lurking around his rooming house building……

Often referred to as the first true film noir picture, Stranger on the Third Floor hardly set the cinematic world alight upon its release. With Lorre the draw card barely in it and its production value no more than that of a B movie programmer, it's not hard to envisage some of those 1940's critics stroking their beards and pondering how to write about such a film. Aesthetically the film caused some consternation, too, while the snarky aside to the legal system, and the people involved in such, adds some intrigue into the narrative mix. For a film running at just over an hour, it was doing well to make a mark: favourably or otherwise!

The truth is is that at its core, Ingster's film is no more than a capably acted crime thriller, but what cloaks that core are hugely impressive visuals that paint a skew whiff world of a paranoid mind at work. The script, while light as spoken, does indeed carry cynicism, but this aspect only impacts because of the expressionistic visuals and baroque like imagery. Characters, and the actors playing them, ultimately are playing second fiddle to style over substance, but in this instance it's OK. With Musuraca weaving his photographic magic around heavy shadows, stilted angles and high contrast framing, film contains one of the greatest dream/nightmare sequences to have ever graced/dominated film noir. This alone makes the film essential viewing for noir enthusiasts.

The ending is all too swift and contrived, distastefully accompanied by the jolly old music that opened up the piece. But again this is forgiven in light of what has gone before it, for now, nothing can be seen in quite the same way. A most interesting and sneaky little picture this one. 7.5/10

I tried figured out this early primal Noir under an unknown couple of leading roles John Mcguire and Margaret Tallichet that show a bit pragmatic performance, Peter Lorre as top billing with a great backgroung appears in a few key scenes, and Elisha Cook Jr. arose to stay with your scary face undoubtedly as promissing weird character, the picture has a distressing atmosphere with bit sense of humor just named a few qualities, Charles Halton as Meng lure antipathy from everyone under a sordid behavior, all scenes in endless bad dream is clearly the highlights of the picture under horrifying dark shadows in large space room, dismal, valuable but a bit silly walking between right and wrong way!!

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First watch: 2011 / How many: 2 / Souce: DVD / Rating: 7.25