Tag: Edward G. Robinson

Film Review: The Stranger

Isn’t YouTube a marvellous resource? As a video library to delve into for few moments of pleasure it’s practically a bottomless pit of entertainment. The choices of things to watch are virtually limitless. But it should come with a warning just to remind you that it’s all too easy to end up spending hours rather than minutes of your spare time engrossed as you segue from one upload to the next. The suggestions that pop up at the end of each video do a fine job of enticing continued viewing.

But aside from the cute videos of pets and babies and the millions of other “caught on camera” moments, YouTube is for me, a great film library. Thanks to a copyright lapse in many old classic films, there are a plethora of great movies available and just one click away. I found one such film this morning. The Stranger from 1946 starring Edward G. Robinson, Loretta Young and Orson Welles (who also directed) is a superbly put together drama that, thanks to its style, is also a fine example of film noir. Robinson is always good to watch and with great support from Welles and Young, the hour and a half that this film runs for, simply flies by.

Edward G. Robinson plays Mr Wilson – a “detective, of sorts” for the United Nations War Crimes Commission – who is hunting down a Nazi fugitive called Franz Kindler (Orson Welles). Kindler, having carefully erased all evidence of his former life and assumed a new identity – Charles Rankin – is now a prep school teacher in small town U.S.A. On the day we meet him, he marries Mary Longstreet (Loretta Young) who happens to be the daughter of the local Supreme Court Justice. In short, he’s managed to transform himself from a Nazi war criminal into a pillar of an American community.

Wilson releases Kindler’s former right-hand man Meinike (Konstantin Shayne) from prison in the hope that he will lead him to Kindler which of course, he does. All the way to the pretty town of Harper, Connecticut. But he loses him before he makes contact with Kindler. When Meinike (now a religious convert) and Kindler do meet, he begs his former superior to repent and to confess his sins. However, Kindler, afraid of being exposed by his former associate, strangles him instead.

The story unravels in a gripping, almost claustrophobic way as the determined hound chases down the wily fox. Wilson is pretty sure Rankin and Kindler are one and the same but without having witnessed Meinike meeting with him, he had no proof. So it’s left to Father Time and Kindler’s own fear at being exposed, a fear that will force him to make a paranoiac mistake – to betray his true identity to his pursuers.

As a screenplay, it’s a wonderfully taut piece of writing (Oscar nominated too) with very good dialogue – particularly from the authoritative figure of Wilson. Edward G. Robinson plays this to perfection and he lends his character an intelligent doggedness that is simply believable. Welles is also excellent at conveying a man desperately trying to hide something while Loretta Young is convincing as the new wife who refuses to accept that she fell in love with the wrong man. The town is dotted with other great characters too, in particular, Mr Potter the town clerk and proprietor of the local store/diner. He’s a hoot whenever he’s on screen.

Apart from the opening few minutes, all of the action takes place in Harper – a pretty little town where “there’s nothing to be afraid of” as quoted by Mary Longstreet. For a fugitive, it seems an ideal refuge but of course, for a local it seems like the last place on earth where something like that would occur. Welles’s direction confines us within the town, never giving us any long shot vistas of space and scenery, helping to create the sense of suffocation that Kindler must be feeling as his past captures up with him and his world closes in. Welles’ camera moves beautifully too on cranes and dollies and there are a few reminders of his Citizen Kane brilliance with emotive use of light and shadow in some of the interior shots as well as a lovely reflection in a camera lens. The film builds beautifully to a highly charged climax of which the set piece brings to mind Hitchcock’s Vertigo.

Curiously, The Stranger was the only film made by Welles that had any impact at the box office upon its original release. Hard to believe considering how highly some of his work is now regarded. Coming out shortly after the Second World War perhaps its anti-Nazi theme and the fact that war criminal fugitives really did exist, caught the public’s imagination. It contains, supposedly for the first time in a feature film, actual footage of concentration camps and although what we see is brief, together with Edward G. Robinson’s dialogue, it’s enough to horrify.

Overall then, The Stranger is a great waste of an hour and a half.

Film Review: Double Indemnity

Well, yesterday it happened to me again (and I don’t mean another bout of embarrassing public itching). I watched an amazing old movie for the first time and wondered how on earth it is I’d never seen it before. ‘Course, I’d heard of it somewhere, sometime but never felt inclined to watch it. Maybe it’s the film’s title, I don’t know. But having recently read a biography of Raymond Chandler – that wittiest and most influential of all hard-boiled crime writers – and learning that he had, in the 40s, worked as a screenwriter in Hollywood and had in fact co-written Double Indemnity, I sought it out and gave it a viewing.

Chandler is perhaps most famous for creating the character of Phillip Marlowe, the private detective that was made universally famous by Humphrey Bogart in The Big Sleep in 1946. His distinct writing style and in particular, his ability to pen incredible dialogue has been often parodied but never bettered. This “Chandleresque” touch is clearly evident in Double Indemnity as the actors deliver their lines.

The story, based on a novella of the same name by James M. Cain, begins when Walter Neff (Fred MacMurray) an insurance salesman for Pacific All Risk makes a routine house call on Phyllis Dietrichson (Barbara Stanwyck) to renew her husband’s car insurance policy. There is an instant attraction between the two and plenty of flirting takes place until she asks about taking out a life insurance policy on her husband without his knowledge. Neff understands immediately that she has murder in mind and does what any sane insurance man would do and gets the hell out of there. But later that evening, she turns up at his apartment and continues to seduce him and before long, his gullibility and lust for her vanquishes his caution and the two agree to kill her old man.

Neff, being a hotshot insurance man, knows all the tricks of the business and comes up with a foolproof plan to get rid of Mr Dietrichson in such an unlikely way that it will trigger the “double indemnity” clause of the policy thereby making Pacific All Risk liable to pay Phyllis twice the policy amount of $50,000. The plan (which I won’t divulge so as not to spoil the film for those of you who haven’t seen it) goes off pretty smoothly and before you know it, the mourning Mrs Dietrichson is preparing to get her blood-stained hands on the dough.

But Neff’s friend and colleague at Pacific All Risk, Barton Keyes (Edward G. Robinson, who plays a claims investigator) begins to smell a rat and although the head of the company believes the death to be suicide and is willing to settle the claim, Keyes persuades him otherwise by quoting a bunch of statistics on the probability of suicide. There are further complications for Neff when he becomes friendly with the victims daughter who believes Phyllis is responsible for her father’s death and…under the masterful direction of Billy Wilder the tension grows and grows.

As a film noir, it really is one of the finest American examples and clearly set the standard for those of the genre that would follow. The dialogue is a thing of beauty (typical Chandler), the acting is faultless – particularly Edward G. Robinson who in my opinion steals every scene he’s in – and the black and white cinematography is superb. The way they used light and shadow and silhouettes in those days was simply genius. It was nominated for seven Oscars but bizarrely failed to win any but in recent years it has been recognised in all manner of the American Film Institute’s 100 Years…100 something or other categories.

Stanwyck plays her femme fatale with controlled coolness and MacMurray is ideally cast as the charming yet somewhat weak willed louse. It’s interesting to note they were both playing against type in these roles and equally interesting that they were also the two highest paid stars in Hollywood around the time of filming. Robinson is always value for money and despite being third on the bill, he received the same pay as the two leads. To watch the scene where he’s spouting statistics is to watch a true pro at work. Sublime stuff. And if you don’t blink, you’ll even see Raymond Chandler in a one-off cameo (and the only known film footage of him in existence), sitting in a chair as Neff walks by on his way from Keyes’ office.

The film noir genre is probably something that I’ll come back to soon because there are a great many movies worth writing about and watching but for now, if you’re in a mind to watch just one, watch this one. You won’t be disappointed.