The Stranger (1946) is an American film noir directed by Orson Welles and starring Welles, Edward G. Robinson, and Loretta Young. The film was based on an Oscar-nominated screenplay written by Victor Trivas. Sam Spiegel was the film's producer, and the film's musical score is by Bronisław Kaper. It is believed that this is the first film released after World War II that showed footage of concentration camps.
"Prior to the production of The Stranger, Welles had shown an interest in the nature of Fascism and, especially, the documentary footage of the liberation of the concentration camps; writing in his column for The New York Post, Welles stated that this documentary footage 'must be seen' as an index of the 'putrefaction of the soul, a perfect spiritual garbage' associated with what 'we have been calling [...] Fascism. The stench is unendurable'' (Welles, quoted in Heylin, 2005: 163; emphasis in original). Welles managed to work some of these preoccupations into the film: the film openly engages with the fallout of Fascism, and in one striking scene Mr Wilson shows Mary Longstreet some filmed footage of the concentration camps. Mary sits in stunned silence, and Welles holds the camera on a close-up of Loretta Young as the light from the projector flickers across her face". In the scene Wilson says that Kindler "conceived the theory of genocide--mass de-population of conquered countries".
In his New York Post columns, Welles openly declared that he felt the social reforms taking place in post-war Germany would not eradicate the spectre of Fascism: he stated that those subscribing to Nazi ideology were 'laying the fuel for another conflagration'...During one of the film's strongest scenes, Mr Wilson and Kindler (as Rankin) join the Longstreets for dinner. The topic of conversation turns to an article about the social reforms that are taking place in post-war Germany...In this sequence, the film offers a direct critique of complacency and the notion of social reform that echoes the sentiment of Welles' New York Post columns on the topic of Fascism. (From Wikipedia)
The Stranger (1946) is an American film noir directed by Orson Welles
and starring Welles, Edward G. Robinson, and Loretta Young. The film was
based on an Oscar-nominated screenplay written by Victor Trivas. Sam
Spiegel was the film's producer, and the film's musical score is by
Bronisław Kaper. It is believed that this is the first film released
after World War II that showed footage of concentration camps.
"Prior to the production of The Stranger, Welles had shown an interest in the nature of Fascism and, especially, the documentary footage of the liberation of the concentration camps; writing in his column for The New York Post, Welles stated that this documentary footage 'must be seen' as an index of the 'putrefaction of the soul, a perfect spiritual garbage' associated with what 'we have been calling [...] Fascism. The stench is unendurable'' (Welles, quoted in Heylin, 2005: 163; emphasis in original). Welles managed to work some of these preoccupations into the film: the film openly engages with the fallout of Fascism, and in one striking scene Mr Wilson shows Mary Longstreet some filmed footage of the concentration camps. Mary sits in stunned silence, and Welles holds the camera on a close-up of Loretta Young as the light from the projector flickers across her face". In the scene Wilson says that Kindler "conceived the theory of genocide--mass de-population of conquered countries".
In his New York Post columns, Welles openly declared that he felt the social reforms taking place in post-war Germany would not eradicate the spectre of Fascism: he stated that those subscribing to Nazi ideology were 'laying the fuel for another conflagration'...During one of the film's strongest scenes, Mr Wilson and Kindler (as Rankin) join the Longstreets for dinner. The topic of conversation turns to an article about the social reforms that are taking place in post-war Germany...In this sequence, the film offers a direct critique of complacency and the notion of social reform that echoes the sentiment of Welles' New York Post columns on the topic of Fascism. (From Wikipedia)
"Prior to the production of The Stranger, Welles had shown an interest in the nature of Fascism and, especially, the documentary footage of the liberation of the concentration camps; writing in his column for The New York Post, Welles stated that this documentary footage 'must be seen' as an index of the 'putrefaction of the soul, a perfect spiritual garbage' associated with what 'we have been calling [...] Fascism. The stench is unendurable'' (Welles, quoted in Heylin, 2005: 163; emphasis in original). Welles managed to work some of these preoccupations into the film: the film openly engages with the fallout of Fascism, and in one striking scene Mr Wilson shows Mary Longstreet some filmed footage of the concentration camps. Mary sits in stunned silence, and Welles holds the camera on a close-up of Loretta Young as the light from the projector flickers across her face". In the scene Wilson says that Kindler "conceived the theory of genocide--mass de-population of conquered countries".
In his New York Post columns, Welles openly declared that he felt the social reforms taking place in post-war Germany would not eradicate the spectre of Fascism: he stated that those subscribing to Nazi ideology were 'laying the fuel for another conflagration'...During one of the film's strongest scenes, Mr Wilson and Kindler (as Rankin) join the Longstreets for dinner. The topic of conversation turns to an article about the social reforms that are taking place in post-war Germany...In this sequence, the film offers a direct critique of complacency and the notion of social reform that echoes the sentiment of Welles' New York Post columns on the topic of Fascism. (From Wikipedia)
Δεν υπάρχουν σχόλια:
Δημοσίευση σχολίου