Fifth about The Seventh

The Stranger (1946)

The Stranger: solid noir with all the usual Orson Welles’ fingerprints, and the better for it. In first place, his camera work and lighting design is complex, rich and expressive; while there is no shot that reaches out the opening shot of Touch of Evil, there are quite a few that caught my eye. (However, never is too much to recall that I’m biased towards long continuous takes.) The lighting (and the music) creates a sense of dread that permeates the whole movie. It would, however, be an empty aesthetic exercise if the story and characters were not interesting enough to watch; they are, and also they are well-represented by the central cast.

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