The Stranger (1946)
I’m curious as to exactly how a Nazi fugitive (played by Orson Welles himself) would be able to adopt a perfect mid-Atlantic accent to rival Angela Lansbury’s in The Manchurian Candidate.
From a modern standpoint, The Stranger offers retrospective insight into how Americans viewed National Socialism and the Holocaust in the first years after the end of WWII. Though being the first Hollywood film to use footage from the camps, the script and production seemingly tiptoe around the ideology of the Final Solution, using vague terms to illustrate Germany’s intent on biological subjugation of other nations, rather than the absolute destruction of a single group of people. At the same time, the extensive denial on behalf of the villain’s wife that her husband could be an ex-SS officer rings alarm bells, pointing to the compromised conscience of United States, who confronted the reality of camps only when it was totally undeniable. In a sense, it’s quite literally a film of its time, as had it been produced even one or two years later, it might have looked very different as the Nuremberg Trials became increasingly complex and politicized (Indeed, the incessant presence of the clock tower inneed of constant maintenance seems an important metaphor for the essentiality of time.)
Perks of the film include excellent film-noiry lighting, a shit ton of clocks and really (and I mean, REALLY) cheesy music.
Direction: Orson Welles
Cinematography: Russell Metty
Music: Bronisław Kaper
Starring: Edward G. Robinson, Loretta Young, Orson Welles
1 thought on “Orson Welles (and Nazis)”
And then there is Camus