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Download, Watch online The Stranger Movie.
| Genres: | ThrillerDramaMyst |
| Starring: | Orson Welles, Konstantin Shayne, Philip Merivale, Edward G. Robinson, Martha Wentworth, Richard Long, Loretta Young |
| Director(s): | Orson Welles |
| Available Quality: | DivX, Hi Def, iPod, Hi Def |
| Country: | USA |
| Year: | 1946 |
| IMDB Rating: | 7.5 |
Wilson of the War Crimes Commission is seeking Franz Kindler, mastermind of the Holocaust, who has effectively erased his identity. Wilson releases Kindlers former comrade Meinike and follows him to Harper, Connecticut, where he is killed before he can identify Kindler. Now Wilsons only clue is Kindlers fascination with antique clocks but though Kindler seems secure in his new identity, he feels his past closing in.
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The Stranger (iPod) | Resolution: 480x368 px | Total Size: 286 Mb |
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The Stranger (Hi Def) | Resolution: 852x656 px | Total Size: 695 Mb |
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The Stranger (Hi Def) | Resolution: 1280x976 px | Total Size: 1401 Mb |
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The Stranger (DivX) | Resolution: 320x240 px | Total Size: 379 Mb |
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Movie Photos: We have taken some photos of "The Stranger". They represent actual movie quality.
Visitor Reviews: (20)
terraplane 20 May 2012
Another great day at the office for Orson Welles.
The Stranger is one of Welles' lesser known works but it is right upthere with the best, which means pretty much all of 'em! What is afairly simple story is given the full treatment.The cinematography iswonderful-why can't directors use black and white these days?, theyjust don't have the eye for it anymore.It is sometimes said thatWelles' started at the top and then everything went downhill.I don'tagree.The Stranger, Journey Into Fear, Lady From Shanghai,TheTrial,Touch Of Evil etc,etc every one a great film. Given that this wasmade cheaply as a B movie,it blows so many 'great' movies out of thewater.Welles never got within sniffing distance of an Oscar for any ofhis work, the Hollywood mafia saw to that, but when you think thatTitanic scooped the pool it fair makes you weep. Still, some of us knowand some of us don't.You don't need to be a movie buff to watch TheStranger, you just need to be unindoctrinated by the Hollywoodfactory.Watch and enjoy.
johno-21 20 May 2012
Orson Welles-Edward G. Robinson-Loretta Young in an artful thriller directed by Welles
This movie must of made more than one actual former Nazi on the lamb alittle nervous that people might actually start tracking them down. Andin the 60th anniversary year of this film's release there still are afew on the loose out there. This one of my favorite Edward G. Robinsonperformances as Mr. Wison the federal agent tracking the Nazi warcriminal. Orson Welles directs himself as Professor Rankin, the Naziwho has assimilated himself into quaint New England society. LorettaYoung rounds out the principal cast as Mary Longstreet as Rankin'sunsuspecting fiancé. It must have been tough being Orson Wellesespecially in the immediate years following Citizen Kane where as hewould come out with a quality film like this people would still useKane as a benchmark and say well, it's not Kane. This film is adaptedfrom a story by Victor Trivas who himself was forced to flee firstGermany and then France to the USA from the Nazi regime. I've seen thisseveral times over the years and have enjoyed this film and would giveit a 8.0 of a possible 10.
17 May 2012
POST-NAZI FILM
This is a post-World War II 1946 film starring well-known and talented actors. A notorious Nazi war criminal escapes to America, becomes a teacher and marries a local woman. But as the plot unravels, a federal agent is hot on his trail and the rest is an exciting, suspenseful story. I liked it and would recommend it to others. The photography and lighting is innovative and adds to the drama of the ex-Nazi getting his just reward for his evil acts against humanity. I imagine the satisfying ending in 1946 movie theaters got a loud cheer of revenge from the audience.
17 May 2012
Big Brother in the Movies.
The Trial, which starred Anthony Perkins, was directed by Orson Welles, who was the character's advocate. He also wrote the screenplay based on the novel by Franz Kafka. He declared early on that this was his best movie and used the last name Cane, because of his success with 'Citizen Cane,' about Randolph Hearst.In this movie, The Trial, Josef was arrested at his own apartment and had to stand trial before his totalitarian neighbors. Doors play a big part in this strange movie in an abandoned Paris railway station. The outside facade is beautiful, likes ours in America, but it being French makes it especially so. The empty part of the inside is dark and scary. Josef doesn't know why he has been singled out for prosecution.Anthony Perkins was just a kid, long before 'Psycho' and this is a most unusual psychological study of society, or a strange part of same. It is very talky. Ending is like 'Suddenly Last Summer.'
tdibug 17 May 2012
See It
It's hard to review an Orson Wells film that does not carry thecinematic weight and notoriety of classics such as "The Third Man" and"Citizen Kane". Nevertheless, this movie is good. Very good. I wonderedwhile viewing it if Welles had taken a page from early Hitchcock ("The39 Steps").Welles plays a former Nazi trying to escape war crime trials bychanging his identity and hiding out in an unassuming small Connecticuttown. His marriage to the unaware and naive Loretta Young is the meatof the film, with great support from FBI investigator Edward G.Robinson and some humorous and entertaining scenes with general storeowner "Mr. Potter" played by Billy House. Welles uses some interesting camera shots and film sequences (nosurprise there). The ending is both suspenseful (again, in a sort of"Hitchcock-ian" way) but at the same time unconvincing and almostamusing. Welles apparently hated this film, but I recommend it.
Hazle 17 May 2012
a thriller that kept my attention
Assuming a new life in Connecticut, a Nazi war criminal still has the sameevil in his intentions. How seared his conscience has become is evident inhow easily he strangles someone he has known from Germany, so that hehimself is not discovered. The most interesting development of the story ishow (Loretta Young) the new wife of the imposter is changed from sweetnessto willingness to incriminate herself to finally having her own moralecharacter resurface at the end...it seems to be more about her dilemma thanjust whether the imposter will be found out and exposed by the investigator,played by Edward G. Robinson. Throughout the movie, Orson Welles characteris despicable, but I doubt if an experienced criminal would have allowedhimself to be discovered. He may have taken flight as soon as he thought hewas suspected.
edwagreen 16 May 2012
The Stranger-Nazi in the Neighborhood is Tedious At Best **1/2
Edward G. Robinson, as the suspicious inspector, turns in a solidperformance in an otherwise mediocre film.Orson Welles, who directed this, showed himself to be a master of evil.The problem here was that the plot was too obvious. Even a sweet,vulnerable Loretta Young can't do very much here.That ending scene with the clock was memorable but certainly notexactly a joy to watch.A far better 1946 Welles film is "Tomorrow Is Forever." In that one,also dealing with the Nazis, you had some sympathy for the Wellescharacter.
15 May 2012
Great Film-Noir from Orson Welles
Legends like Orson Welles and Edward G. Robinson working together is always awesome to see. Add in a supporting cast that includes Loretta Young and a storyline that is fascinating to say the least, and what you have is "The Stranger", a Film Noir thriller. In a "Cat-and-Mouse" game, Robinson and Welles chase down a former Nazi who is held up in a small town in Connecticut. As the wife of Welles, Loretta Young as a pretty difficult role but her performance is credible and as important to the story as any. It's all about "time" in this movie so pay attention to the use of the clock tower, along with related time themes. Sure to please, The Stranger is great Film Noir.
pcurley 08 May 2012
Excellent In the Middle, Bad At Both Ends
An interesting if flawed movie by Welles. It contains some solidperformances, particularly by Billy House and Loretta Young. Yet theplot is extremely uneven, with ridiculous holes and an ending you couldhave predicted with an hour to go that detract substantially from theend product.The introduction is tedious; the first 10-15 minutes could easily havebeen chopped from the film so that it starts where it ends; in a smallcollege town in Connecticut.There are plot holes galore in this film. If the former Nazi Robinsonis following got religion while in Allied custody, why is it that hefeels no compunction about clocking Edward G? And is it at all crediblethat after being presented evidence that Welles is a former Naziresponsible for the Holocaust, Loretta Young's brother and father wouldnot insist that she be kept away from this monster? Instead they meeklyagree not to disclose what they have learned lest Welles get away. Andat the end, nobody can think of where Welles might possibly be hidingout until of course the plot calls for each of them to remember thetown clock where Welles has been spending all of his spare time.Terrific performance by Young as she slowly realizes that her newhusband is evil incarnate. Billy House amuses as a checkers-crazyshopkeeper. The film made waves due to the use of graphic Holocaustphotos in a crucial scene. Although the climax at the tower istelegraphed early, Welles' obsession with fixing the clock is aterrific metaphor.But the ending is clunky and the absurd last line, "Pleasant dreams,"should draw a horse-laugh, jolting you right out of the film.
uk6strings-1 07 May 2012
"Murder can be a chain...."
World War II is over and Charles Rankin has it made in the shade. Asteady job at a local Connecticut university and his marriage to atrusting, beautiful, and connected sweetheart make the perfectsituation for hiding his true identity: Nazi holocaust orchestratorFranz Kindler. But Rankin's world of safety suddenly shatters aroundhim when one of his former concentration camp subordinates KonradMeinike finds him in his suburban hideout with War Crimes Commissioninvestigator Mr. Wilson following behind.An interesting on-screen display of the lingering fears of Nazism inpost World War II America - they can walk amongst us, they can looklike us, they can talk like us, but they are dangerous murderers -Orson Welles' The Stranger is a dark trip into madness. Nominated foran Academy Award (only Victor Trivas got the nomination even thoughAnthony Veiller and Decla Dunning worked on it and there was also someuncredited help from John Huston and Orson Welles) the script includesboth a gripping and dark overall story and great dialogue. Theprinciple members of the cast really excel in the film. Orson Wellesstars as well as directs the film as the disturbed Charles Rankin butthe most impressive performances come from Edward G. Robinson, calm butphenomenal as Mr. Wilson, and Loretta Young who is simply extraordinaryas Rankin's wife Mary. As with most Orson Welles pictures, this filmlooks really ahead of its time in both content and visuals with itsespecially dark atmosphere and unique shots (there are someparticularly excellent crane shots). The Stranger is a fantastic filmnoir thriller - I cannot for the life of me figure out why Orson Welleshas named it as his least favorite directed film.
Janos Smal 05 May 2012
The Stranger
A special commissioner intelligence arrives at a small Connecticut town tocatch a Nazi war criminal who lives there under a pseudonym, with a wifewhoknows nothing about his past.Unconvincing and highly artificial, if technically skillful and finelyactedsuspenser with attention to detail and sinister atmosphere, not to mentionsome typically effective touches from its director, notably the finalcliffhanging sequence at the church tower. Undermined by narrative flawsandthe impression that Welles wishes to do something else.
04 May 2012
Good noir film, so-so transfer
This review is from: The Stranger [Blu-ray] (Blu-ray) Being a huge booster of Blu-Ray as the ideal (so far) medium for improving the sight and sound of older movies I was fairly disappointed with this and HD Cinema's concurrent release, "Kansas City Confidential". While Blu-Ray transfers typically make details sharper, shadows blacker and faces more detailed, these two films' details seem softer and less focused despite the BD transfers. Ironically, this can be proven by watching the short side-by-side comparison each disc offers as an extra feature. The non-Blu-Ray half of the screen looks sharper with more relief. First time I've seen that.
Enrique Sanchez 03 May 2012
Fascinating Thriller
The Stranger was directed by Orson Welles but he did not adapt it to thescreen. Although this is seen as a detraction from the whole by some whohave seen it, I believe that Welles' deft directing and penetrating actingis what makes this a Welles film for my taste. He was never a facile actor- but he uses his usual wooden countenance here to the advantage of thisrole.Another thing that fascinates me is the underrated status of this engrossingthriller. The action and suspense builds and builds to a peak of excitementthat few movies can reach without lots of special effects and Foley workthese days. This movie fascinates at every turn without ever seeming as ifwe are watching art. But art it was in Welles' direction and gentlehandling of the unravelling.Edward G. Robinson is the subtle but welcome prize we receive from thisouting. The undercurrents of the horrors that have just come before thismovie was made and its actions can be seen seething within his duty to findhidden Nazis. He is methodical and intelligent, it so difficult to see thedifference between Robinson the man and Robinson the actor here. He is sucha talent that we often mistake his ease for something else but acting -- andof acting he was a master. Plainly seen here as a gift to all ofus.What I like about this and many other good films is how facts are revealedslowly, layer by layer. Loretta Young was good as the innocent young girl who believes that marriageis a sacred institution, that life has a course to follow which will not bederailed and finds it hard to accept the truth of the horrors behind hermarriage.It was mildly amusing to see a very young Richard Long as the open-mindedyoung man with whom Robinson's character confides certainfacts.I recommend it to fans of psychological thrillers, mysteries and of course,of Mr. Orson Welles. So sad that the studio heads were such disingenuoustowards this utter genius of a man who deserved more earnest accolades inhis life.THE STRANGER is not glittering masterpiece but it's a hell of great storythat I do not tire of watching...and seeing each piece of the puzzle fallinto place.What MORE could an intelligent person want from a movie?
stalker vogler 03 May 2012
Another master of suspense
Coincidence or not, in the same year two of the greatest masters ofAmerican cinema attempted to tackle with similar means a similar typeof story: the Nazi refugees after World War Two. Hitchcock's Notoriouswas in my opinion not as good as this one, both movies share a problem,their premises are not so realistic but they also share the greatsuspense and interesting climactic scenes. I have a problem with thefemale actors, I thought both Ingrid Bergman and Loretta Young slightlymisplaced but maybe this can be considered an advantage since they seemto be caught in something that's way over their heads in the twostories. The Stranger is a solid, tight movie with not one second being lost inits unfolding. Not as spectacular as other Welles films in the genresuch as Mr. Arkadin or Touch of Evil it is still very efficient ingetting what it aims for. Edward G. Robinson and Welles are very goodas actors, I think Welles was absolutely; amazing in depicting bad guysand he here delivers a part which is in many respects better than hiswork in The Third ManIn spite of the fact that we are dealing with a linear, predictablestory-line the suspense is not lost for one second. We kind ofanticipate from the very beginning that the Nazi refugee played byWelles will eventually be exposed. As the story proceeds we begin tothink that the clock which is his obsession might have a greatrelevance as it will actually have and so on. No red-herrings, just asimple well-balance, perfectly paced story packed with effective ideas. I found the atmosphere of the town quite refreshing as well, thesupporting cast quite effective. Overall I think this movie is a farmore complex and a more realistic account of its subject. Welles kneweven more than Hitchcock that suspense alone won't cut it, in order todeliver a story something more than cinema trickery is necessary. Toobad for Hollywood Welles went on to make Macbeth and Othello...
Van Roberts 01 May 2012
Welles' Third Film Is A Corker!
Pipe-smoking Edward G. Robinson pursues an elusive Nazi war criminalplayed by Orson Welles in his third movie, "The Stranger," thetightly-knit, black & white, film noir thriller co-starring LorettaYoung, Richard Long, and Billy House as Mr. Potter. The technicalcredits are beyond reproach, especially Russell Metty's first-ratecinematography, Ernest Nims' evocative editing, and top-flightperformances by a uniformly superb cast. No, "The Stranger" isn't halfas good as "Touch of Evil," but "The Stranger" ranks as one of Welles'more palatable melodramas with intrigue and atmosphere galore. Anybodythat enjoys a gripping cat & mouse nail-biter should find themselveswrapped up in this edgy yarn. It helps considerably that the hero is arather ordinary fellow blessed with superior intuition that a cunning,cold-blooded villain challenges right up to his comeuppance. Robinson'smousy detective, Orson Welles' cornered Nazi war fugitive, and LorettaYoung's deceived wife who stands poised between them make this movieworth watching several times. According to the Internet Movie Database, "The Stranger" representedthe first Hollywood to show American audiences the infamous Naziconcentration camps. Furthermore, "The Stranger" remains Welles' onlyfilm to return a profit, and the lean, mean, no-nonsense pacingunderline the brilliant simplicity of this film. Welles appears at hisleast pretentious here, creating not only solid, three-dimensionalcharacters with his hero, heroine, and villain, but also conjuring upthe conservative mind-set in an entire community in a remote corner ofConnecticut, far removed from the outside world. You feel like you'rewatching a white-knuckled thriller in the setting of "It's A WonderfulLife." Ironically, for all its virtues, Welles had little complimentaryto say about "The Stranger." A tireless investigator, Mr. Wilson (Edward G. Robinson of "LittleCaesar"), with the Allied War Crimes Commission, Department 12, findshimself at the end of his tether. Wilson has been hot on the trail of anotorious Nazi officer, Franz Kindler, who--in Wilson's words--evinced"the most brilliant of the Nazi minds" and conceived the theory ofgenocide, mass depopulation of conquered countries so that regardlessof who won the war, Germany would emerge the strongest in Europe,biologically speaking." Kindler disappeared after the war and destroyedall clues to his identity from Poland and Germany, and nobody has beenable to find him. Wilson convinces his reluctant colleagues to releasefrom prison convicted Nazi war criminal Konrad Meinike (KonstantinShayne) in hopes that the latter will lead Wilson to Kindler. Wilson isprepared to shoulder the burden of the blame if his plan backfires.Indeed, he is so committed that he smashes his pipe on a table to drivehis fanaticism home.Meinike believes that God performed a miracle so that he could escapefrom his captors and he sets out to find fellow Nazi Franz Kindler.Studio executives cut about 30 minutes of the film as Meinike searchesfor Kindler in South American. Welles took issue with their decision toeliminate this part, but in all fairness, they have accelerated thepace and bring the film to its setting in Harper, Connecticut wheremost of the action occurs. Sources say that producer Sam Siegelauthorized the deletion because that half-hour slowed down the action.Nevertheless, Meinike learns of Kindler's whereabouts when he obtainspicture postcard with the image of a church steeple. Presto, Wellesdissolves to the church in Connecticut and Meinike looks for HistoryProfessor Charles Rankin. Anyway, Meinike arrives in Harper and stasheshis suitcase at Mr. Potter's store. Although only a peripheralcharacter, Billy House's Mr. Potter makes quite an impression. Largely,it is the way that Potter runs his store. Potter remains seated whilehis customers serve themselves and then pay him. Occasionally, he luresWilson and Rankin separately in games of checkers, dons his visor, andbeats them for a quarter a game. Meinike visits Mary Longstreet(Loretta Young of "Ladies Courageous") in his search for Rankin. Themeeting between Meinike and Mary turns out to be crucial and Marydiscovers later on that not only her life but the life of her husbandhangs by the string of that encounter. She directs him to Rankin andthe two ex-Nazis meet his deep in the woods so that nobody can seethem. Rankin strangles Meinike and conceals the corpse. Not longafterward, the cold-blooded Rankin marries Mary Longstreet. Meanwhile,Wilson noses around Harper and poses as an antiques dealer. He meetsMary's father, U.S. Supreme Court Justice Adam Longstreet (PhilipMerivale of "Adventure") and receives an invitation to dinner oneevening. During the conversation, Rankin makes a comment thatincriminates him in Wilson's eyes. Rankin makes a disparagingobservation about Karl Marx that Wilson initially dismisses. Later,Rankin drives Mary's dog Red away from digging up the corpse. WhenRankin kicks Red, the film cuts to Wilson waking up to the realizationthat Rankin is Kindler. "Who but a Nazi would deny that Karl Marx was aGerman because he was a Jew? Earlier, Wilson was prepared to leaveHarper, deciding that Rankin was "above suspicion." Eventually,Meinike's body is found and Mary stands between her husband andjustice. The biggest flaw in "The Stranger" is how did Rankin arrive in Americaand acquire a job as a college teacher. Sometime John Hustoncollaborator Anthony Veiller penned the screenplay that leaves out someimportant information that occurred during the missing South Americascenes. For the most part, however, Veiller and other writers on "TheStranger" supply us with most of what we need to know. Veiller wrote"The Night of the Iguana," "The List of Adrien Messenger," "MoulinRouge" and "Beat the Devil" for Huston. Previously, Veiller hadcontributed his writing skills to Frank Capra's "Why We Fight" series.Veiller's collaborator on "The Stranger" was German born Victor Trivaswho received an Oscar nomination for penning the original story thatVeiller rewrote as the screenplay.
junk-monkey 30 April 2012
Smart and creepy.
It may well be one of Welles' lesser films but there is some reallygood stuff in here. I loved the length of some of the shots, not asspectacularly long or as complicated as the opening of A Touch of Evilbut still long enough. There's one in particular when Edward G Robinsonand the boy walk out of the doctor's office and cross the road. There'sno dialogue between them and nothing happens. They just cross the roadand think about what they have just been told - and we the audience getto think about it too. When was the last time you saw a mainstreamHollywood movie that gave you time to think about what was going on? Or what about the long tracking shot when Rankin and Meinike meet inthe woods? It's wonderful. We get to see the actors really act. Fromthe moment two old comrades meet till the moment one of them murdersthe other. It's hypnotising. There isn't a cut between one of seventeendifferent angles every other word as so often happens these days. Andthere is some lovely acting from here from Welles. Smart and creepy.The way his hands twist and crawl on the back of the pew as he lies tohis wife in the church.As with all Welles' movies we can only wish the Director's Cut wasstill in existence but what remains is an interesting little film.
28 April 2012
The Stranger
This review is from: The Stranger (DVD) Very Enjoyable and exciting to watch. Keeps you on the edge of your seat thru the film. A real hidden Treasure.
byron f. ware 27 April 2012
Loretta Young a great actress
The Stranger 1946 is a great story of Mystery. Set after World War IIgives us how the Nazis escaped from Europe after the war. Edward G.Robinson turns in a fine performance in the movie. Mr. Robinson hadreputation of being a gangster in earlier films. This role gives us adifferent side to him.Orsen Welles Legacy in films is flawless. His directing and acting isgreat. His style of directing was ahead of the time.Richard Long is cast in this picture. Before the Big Valley series inthe 1960's. Richard Long had a very nice film career going for hisself. Unfortunately he died in 1974.The Stranger with its co-stars Loretta Young, Edward G. Robinson andOrson Welles is a great Legacy of the American Cinema. Please embracethis picture and learn from it.
Albert Ohayon 27 April 2012
Taught, suspenseful thriller
This film has been knocked by many people saying that Orson Welles wasforced to work within the strict confines of the Hollywood system. I haveabsolutely no problem with this. Welles is a master craftsman. He made greatfilms, period. In an interview he said that the studio cut out " a couple ofreels" that take place in South America at the beginning of the story thathe felt was the best part of the movie. As a viewer I feel that the film iscompact and taut. Adding more to it would not help(in my opinion). On thecontrary, I think adding more might make the film sluggish. As it stands thefilm remains dark. You feel that evil is present. You are just not sure whatis 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 isself-assured not obsessed. He understands what most people in the towndon't: Kindler is a monster who is capable of anything. To catch such a manyou have to be several steps ahead of him. Also excellent is KonstantinShayne as Meinike. You can see the fear and madness in his eyes as herepeats "I am travelling for my health, I am travelling for my health..."before going through customs. Make no mistake, this man is "an obscenitythat must be destroyed" to quote Wilson. Just look at his scene with thephotographer in South America. He is used to people following his orders.Welles is also very good as Kindler/Rankin. There are moments that youactually feel sympathy for him. His obsession with fixing the town clock isvery significant. Here is a man who needs things to be precise andstructured. He wants total control of his environment(a good example is howhe 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 getaway. Loretta Young is unfortunately just average in this film. She has somegood moments (especially in the final scene when she confrontsRankin/Kindler)but her hysterics are just too much. The scene where Wilsonis showing her the Nazi atrocities is well played. She keeps a certaincomposure that works well.Overall, a very well made thriller with top notch performances and soliddirection by one of cinema's masters. I give it 8 clock towers out of10.
27 April 2012
An almost great classic
I haven't viewed the DVD, so I can't address the DVD quality, only the film itself.This 1946 film tries very hard to be great but doesn't quite succeed, though it is worth seeing and is outstanding in many ways.Edward G Robinson is the indefatigable Nazi hunter and Orson Wells is the Nazi mastermind Franz Kindler who immediately after World War II somehow manages to slip into a history professorship under the false name Charles Rankin in a small Connecticut town and marry the daughter of a Supreme Court justice. Both give excellent performances. I wasn't impressed with Loretta Young's performance, but she isn't one of my favorite actresses of the period anyway.Orson Wells as the director does a magnificent job of playing with shadows in this black-and-white film to convey a sense of mystery that would be much harder with color, but the music is often just too flamboyant and too often draws too much attention to itself.I especially liked how we can see the net closing in on Nazi Kindler/Rankin. We know from the start how the film is bound to end, but we feel suspense anyway, and we can see it in Kindler/Rankin's eyes as the net draws tighter around him. This part of the film is brilliantly done.I found the story itself however uneven at best, and often unconvincing. For a man who as Franz Kindler was the evil genius behind Nazi Germany and who brilliantly pulled the wool over the eyes of good Connecticut Yankees, as Charles Rankin he doesn't appear all that bright, though I won't spoil it for you by revealing details. He just doesn't act like a genius mastermind. The very final scene on the face of the clock in the clock tower - I won't reveal details - is beautiful and dramatic but also seemed overblown to me. I would have liked it better if the rest of the film had been as good.Overall I enjoyed this film and I recommend watching it, especially to anyone who enjoys black-and-white films of the era, but I found myself thinking too much about the flaws that kept it from being a really great film.