The rest of film is a well-designed but conventional cat-and-mouse gameįeaturing an eye-rolling performance by Welles and a thrilling conclusion played Maelstrom of swirling leaves that expose the body he furiously tries to bury. Nazi official skulking through South American ports and building up to dramaticĬrescendo as Kindler murders this little man, the lovely woods becoming a
Opening sequences, casting a moody tension as agents shadow a twitchy low-level Welles the director is in fine form for the New England prep school for boys and newly married to the headmaster's lovely if Welles stars as unreformed fascist Franz Kindler, hiding as a schoolteacher in a Noir thriller, his only Hollywood film to turn a profit on its original release. He accomplished all three, turning out a stylish if unambitious film Marvelous, but it points out how many compromises Welles made on the film in anĪttempt to show Hollywood he could make a film on time, on budget, and on their Wanted Agnes Moorehead to star as the dogged Nazi hunter who trails a warĬriminal to a sleepy New England town. Legendary story that hovers over Orson Welles's The Stranger is that he
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