Does anyone know the answer to the question about the background music being played. (See earlier question )

I guess that no one knows or cares to answer the question about the name of the background music - any one interested?

Orson welles directs and stars in vivid postwar Nazi hunt.

Welles's least favorite and least personal film is one of his most enjoyable; an exciting film noir with an excellent performance from Edward G. Robinson

United Artists Studios - 7200 Santa Monica Boulevard, West Hollywood, California, USA

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Well, who but a Nazi would deny that Karl Marx was a German because he was a Jew?

Orson Welles and Loretta Young in The Stranger (1946)

Orson Welles, Byron Keith, Neal Dodd, Philip Merivale, and Loretta Young in The Stranger (1946)

Orson Welles, Billy House, Philip Merivale, Martha Wentworth, and Loretta Young in The Stranger (1946)

Martha Wentworth and Loretta Young in The Stranger (1946)

Edward G. Robinson and Orson Welles in The Stranger (1946)

Orson Welles

Edward G. Robinson

Loretta Young

Anthony Veiller

Victor Trivas

Decla Dunning

An investigator from the War Crimes Commission travels to Connecticut to find an infamous Nazi.

The Stranger

Nazis In The Belfry

The reason people talk about &quot;The Stranger&quot; 60 years later is because it was Orson Welles&apos; first directorial effort after he was evicted from the Mercury Theater cocoon which gave us &quot;Citizen Kane&quot; as well as its worthy follow-ups &quot;The Magnificent Ambersons&quot; and &quot;It&apos;s All True.&quot; The reason &quot;The Stranger&quot; is worth talking about is because it features one of the greatest performances by that criminally-ignored actor, Edward G. Robinson.

Robinson plays Mr. Wilson, an anti-Nazi hot on the trail of a war-crimes-tribunal escapee Wilson hopes will lead him to Franz Kindler, architect of the Final Solution. Kindler, we quickly discover, has set himself up as a history teacher, Mr. Rankin, at a Connecticut prep school. There he is about to marry Mary Longstreet, the daughter of a U.S. Supreme Court justice, &quot;a liberal,&quot; Kindler relates with chilling amusement.

As Kindler, Welles gives a weak performance. There&apos;s a scene where he chews on more than his dinner as he gives himself away, by saying Marx was not a German because he was a Jew. Actually, I&apos;d say the jig was up when he revealed his novel notions of reconstruction. The scenes between him and Loretta Young, who plays his too-trusting bride, are uncomfortably clichéd.

But Robinson is a marvel throughout the film. Of course, he is best remembered for playing a gangster, but he shone playing good guys, too. &quot;Double Indemnity&quot; is the best of them, though &quot;Confessions Of A Nazi Spy&quot; is good, too, and somewhat to the point here as it features Robinson playing a role similar to &quot;The Stranger,&quot; though at the beginning of World War II rather than the end.

Robinson&apos;s character here, Mr. Wilson, might in fact be &quot;the stranger&quot; of the title, though it seems to refer to Kindler. Frankly, Kindler may be a Nazi bent on killing innocents, but Wilson is about as coldblooded a character. From the beginning, he seems to be half-playing a game with the Nazi he is chasing, smoking his pipe and staring directly into the eyes of his fearful prey. Perhaps the war crimes he has immersed himself in investigating have stripped him of any human kindness. The way he works on Mary&apos;s brother Noah and his father the judge is remarkable for Wilson&apos;s lack of humane concern, perhaps necessary, but still bone-chilling. He&apos;s like that all the way to the end. Just think for a moment about that final line he says to Mary, after all she&apos;s just been through. He&apos;s on the side of the angels, but Robinson turns in one of his most devilish performances.

There are nice scenes in and around the town of Harper, and I agree with those viewers who see shades of &quot;Shadow Of A Doubt&quot; in its depiction of small-town life, even though that took place in California and this is happening in Connecticut. Billy House as Mr. Potter dominates the scenes he is in with his amiable whimsy and the eyeshade he dons when he&apos;s in the middle of a serious checkers game (quarter stakes).

But &quot;The Stranger&quot; never really gels as a movie. Welles as director is strangely ill at ease with Wells as star. Too many cow-eyed portentous stares, not enough subtle moments like that low-key moment with Mr. Potter when he pays for a soda after finding out Mr. Wilson&apos;s hot on his trail. Young may have been a fine actress, but she doesn&apos;t get much help from a script that serves up every frail female stereotype in the book. Her every reaction seems more suited to soap opera.

Yet there&apos;s more to like here than dislike. Take the satisfying conclusion, where Kindler/Rankin has his moment of truth in the church tower where he has been working on the clock. It&apos;s the one effective scene between him and Mary, and very gripping. Welles was a gifted artist, but a superb craftsman, too, and if &quot;The Stranger&quot; offers more evidence of the latter, who are we to quibble? Pleasant dreams

Official Trailer

https://m.media-amazon.com/images/M/MV5BYTQ0OWMxODYtNDdkOC00ZmFjLWIyZTUtNWNlYzI3MzZmYzllXkEyXkFqcGdeQXRyYW5zY29kZS13b3JrZmxvdw@@._V1_.jpg

The reason people talk about "The Stranger" 60 years later is because it was Orson Welles' first directorial effort after he was evicted from the Mercury Theater cocoon which gave us "Citizen Kane" as well as its worthy follow-ups "The Magnificent Ambersons" and "It's All True." The reason "The Stranger" is worth talking about is because it features one of the greatest performances by that criminally-ignored actor, Edward G. Robinson.

Robinson plays Mr. Wilson, an anti-Nazi hot on the trail of a war-crimes-tribunal escapee Wilson hopes will lead him to Franz Kindler, architect of the Final Solution. Kindler, we quickly discover, has set himself up as a history teacher, Mr. Rankin, at a Connecticut prep school. There he is about to marry Mary Longstreet, the daughter of a U.S. Supreme Court justice, "a liberal," Kindler relates with chilling amusement.

As Kindler, Welles gives a weak performance. There's a scene where he chews on more than his dinner as he gives himself away, by saying Marx was not a German because he was a Jew. Actually, I'd say the jig was up when he revealed his novel notions of reconstruction. The scenes between him and Loretta Young, who plays his too-trusting bride, are uncomfortably clichéd.

But Robinson is a marvel throughout the film. Of course, he is best remembered for playing a gangster, but he shone playing good guys, too. "Double Indemnity" is the best of them, though "Confessions Of A Nazi Spy" is good, too, and somewhat to the point here as it features Robinson playing a role similar to "The Stranger," though at the beginning of World War II rather than the end.

Robinson's character here, Mr. Wilson, might in fact be "the stranger" of the title, though it seems to refer to Kindler. Frankly, Kindler may be a Nazi bent on killing innocents, but Wilson is about as coldblooded a character. From the beginning, he seems to be half-playing a game with the Nazi he is chasing, smoking his pipe and staring directly into the eyes of his fearful prey. Perhaps the war crimes he has immersed himself in investigating have stripped him of any human kindness. The way he works on Mary's brother Noah and his father the judge is remarkable for Wilson's lack of humane concern, perhaps necessary, but still bone-chilling. He's like that all the way to the end. Just think for a moment about that final line he says to Mary, after all she's just been through. He's on the side of the angels, but Robinson turns in one of his most devilish performances.

There are nice scenes in and around the town of Harper, and I agree with those viewers who see shades of "Shadow Of A Doubt" in its depiction of small-town life, even though that took place in California and this is happening in Connecticut. Billy House as Mr. Potter dominates the scenes he is in with his amiable whimsy and the eyeshade he dons when he's in the middle of a serious checkers game (quarter stakes).

But "The Stranger" never really gels as a movie. Welles as director is strangely ill at ease with Wells as star. Too many cow-eyed portentous stares, not enough subtle moments like that low-key moment with Mr. Potter when he pays for a soda after finding out Mr. Wilson's hot on his trail. Young may have been a fine actress, but she doesn't get much help from a script that serves up every frail female stereotype in the book. Her every reaction seems more suited to soap opera.

Yet there's more to like here than dislike. Take the satisfying conclusion, where Kindler/Rankin has his moment of truth in the church tower where he has been working on the clock. It's the one effective scene between him and Mary, and very gripping. Welles was a gifted artist, but a superb craftsman, too, and if "The Stranger" offers more evidence of the latter, who are we to quibble? Pleasant dreams

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