The Stranger (1946) 1080p YIFY Movie

The Stranger (1946) 1080p

The Stranger is a movie starring Orson Welles, Edward G. Robinson, and Loretta Young. An investigator from the War Crimes Commission travels to Connecticut to find an infamous Nazi.

IMDB: 7.42 Likes

  • Genre: Crime | Drama
  • Quality: 1080p
  • Size: 1.79G
  • Resolution: / fps
  • Language: Spanish
  • Run Time: 96
  • IMDB Rating: 7.4/10 
  • MPR: Normal
  • Peers/Seeds: 4 / 13

The Synopsis for The Stranger (1946) 1080p

Wilson of the War Crimes Commission is seeking Franz Kindler, mastermind of the Holocaust, who has effectively erased his identity. Wilson releases Kindler's former comrade Meinike and follows him to Harper, Connecticut, where he is killed before he can identify Kindler. Now Wilson's only clue is Kindler's fascination with antique clocks; but, though Kindler seems secure in his new identity, he feels his past closing in.


The Director and Players for The Stranger (1946) 1080p

[Role:]Philip Merivale
[Role:]Loretta Young
[Role:Director]Orson Welles
[Role:]Orson Welles
[Role:]Edward G. Robinson


The Reviews for The Stranger (1946) 1080p


A Famous Classic Film!Reviewed bywhpratt1Vote: 10/10

Whenever Edward G. Robinson appeared in a picture and Orson Welles directed and starred, you could always count on a great film and this particular film will be enjoyed for many generations because of a great plot and fantastic acting. Edward G. Robinson,(Mr. Wilson),"The Red House",'47 played the role of an investigator, looking for a man who committed horrible crimes during WW II and also a missing friend of his who recently visited this town. Mr. Wilson connects himself with the local town people and plays checkers with a man in town who knows just about everything that goes on with everyone in an New England town. Loretta Young( Mary Longstreet Rankin),"Second Honeymoon",'37, falls in love with Orson Welles,(Dr. Charles Rankin/Franz Kindler),"Butterfly,",'82 and marries the doctor and all kinds of strange things start to happen. Dr. Rankin loves to fix all kinds of clocks and especially a large church steeple clock which has not been working for many years. This story will keep you glued to the silver screen and the ending is very exciting.

I like Harper just the way it is even without a clock....Reviewed byMarieGabrielleVote: 10/10

Loretta Young intones her provincial view of a small Connecticut town, and how everything is perfect, nothing terrible can ever happen in Harper.

Orson Welles deserves credit for this underrated gem. Richard Long is Noah Longstreet and Richard Merrivale as Young's father, a Supreme Court judge.

Edward G. Robinson is the government official, tracking down former Nazi Franz Kindler. Could he be in this perfect American town?. Welles is undercover as a local professor. He marries Mary Longstreet (Loretta Young) but soon some terrible things start occurring in Harper. Mary's dog, Red is missing. Then the body of a mysterious foreigner is found in the woods.

The clock plays a backdrop; Franz Kindler is an amateur clock collector. There are several intriguing scenes, such as when Welles is discussing Nazis and warfare, in the context of history. This is a brilliant suspense film. 10/10.

Atmospheric, but surprisingly superficial post-war Wellesian melodrama that simply lacks a convincing story line.Reviewed bygbrumburgh-1Vote: 3/10

A particular disappointment for those who recognize Orson Welles as a film innovator and genius. Despite many critic's belief that "The Stranger" is a minor masterpiece, the truth is that it's little more than a convoluted piece of propaganda intended to assuage the feelings of post-war audiences. On the plus side, director Welles does manage to show a stylish touch here and there, and the stark black-and-white photography evokes a somber and appropriately eerie pall over the proceedings. But nothing can overcome the banal, increasingly preposterous story line which, by some miracle, received an Oscar nomination.

Top-billed Edward G. Robinson plays a federal agent who has assigned himself the task of finding a heinous, sought-after Nazi war criminal who played a principal role in the operation of concentration camps. By cleverly allowing the "escape" of a minor Nazi figure, Robinson hopes that Nazi minor will lead him to the whereabouts of Nazi major. As the action unfolds, the trail quickly leads to a quaint, quiet, seemingly unaffected Connecticut town.

Welles' batting average at this point of his film career was poor. He had struck out profitably with his prior three movies, but producer Sam Spiegel gave Welles this final opportunity to prove he COULD churn out a movie on time and within the budget. For Welles the result was remunerative and commercially successful. But at such a cost! While the studio was appreciative, Welles himself called it the worst film of his career and I couldn't agree more. It probably succeeded because the film's content struck a politically correct chord with its 1946 post-war audiences. I can think of no other reason.

Accenting this suspense melodrama with shadowy camera angles and wonderful "portrait-like" close-ups of his stars, Welles shows surprisingly little of the inventiveness he is known for. Everything seems rehashed, including a strikingly reminiscent clock tower finale a la Alfred Hitchcock. Moreover, Welles dilutes most of the film's suspense with stale, ineptly drawn, poorly motivated characters -- most of them sacked with implausible dialogue and situations. Even the musical score is obtrusive and obvious.

Wisely understated, Robinson comes off best here as the dogged agent whose instincts do not fail him as he ferrets out his suspect. His character's tone seems balanced, direct, and realistic, which is truly welcomed for he is surrounded by a cast of over-emoters.

Welles the director comes off marginally better than Welles the actor. He plays the small-town professor-turned-suspect as if he were Macbeth in a production of "Our Town." His classical demeanor just doesn't jell. At least his Nazi isn't a caricature, but his intense, incessant brooding here quickly turns mechanical, registering every sinister act and intention with a wide, fixated, stony gaze. One of his few good moments occurs at a dinner table sequence when he is allowed to expound on everything from Marxism to the mental restoration of post-war Germans.

Loretta Young is the chief violator of most of the film's acting problems. As the unsuspecting wife of Welles' character who refuses to see the obvious, she is simply unconvincing in her many scenes, unleashing a plethora of emotions, none of them coming from anywhere real. Her reactions are over-baked and, at times, unintentionally amusing as she feigns shock, disbelief, false bravado, and everything else under the sun. The dialogue served on her certainly doesn't help either.

But the most frustrating aspect of this film is that Welles, in order to advance the plot, allows his characters to do such silly, unsubtle, nimble-minded things. Neither Robinson's methods of tracking down his man nor Welles' ability to elude the ever tightening dragnet are done with much intelligence. One wonders how they ever achieved their stations in life. And poor Loretta! She is practically offered up as a sacrificial lamb just to expose her husband's true identity, when other methods could have utilized just as well!

While "The Stranger" cannot seriously damage Orson Welles' reputation as a masterful but frustrated filmmaker, it certainly does nothing to enhance it.

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