Welles shoots straight, maybe too straight. Here, technique trumps story and suspense. I was hooked after the first revelation (oh, Nazis), but the remainder played out exactly as I would expect, and that just isn't the Welles I know. Disappointing.

Welles shows he could be a good boy and play by studio rules, and gives a great performances as a Nazi war criminal in disguise.

Silly

No masterpiece, but still a very enjoyable watch with a good finale. Is it just me, or does Orson Welles seem to gain weight over the course of the film?

A weak script is given Welle's spit and polish. There are many strokes of cinematic brilliance which are lost on a plot which really doesn't make a lick of sense.

Superb. Orson always had the greatest cinematography and camerawork - it's a real treat to take in and the set is excellent. It's also got a bunch of good performances, including Orson as a Nazi. Finally, it's just so exciting to watch this plot unfold and know that WWII has just ended. I don't know. Really cool

A fun game of cat and mouse with two fantastic leads in Robinson and especially Welles, who was always so great at playing the villain. This is mostly a good thriller with a lot of that Welles polish, but it is a bit muddled in places. It sort of fizzles towards the end when it becomes somewhat predictable and by-the-books.

Hitchcock would have done it much better.

Yet another film that we will never know how good it could've been should Orson Welles have had artistic freedom.

82.875

Orson Welles proves that, even making a proper Hollywood-esque movie, he is a hell of a director.

Just another old bland suspense flick. It reminds me of Hitchcock's Vertigo a little bit. (but The Stranger came out 12 years before Vertigo). Anyway, it's still watchable and slightly enjoyable.

Hilariously bad to begin with, but then seemed to get unexpectedly suspenseful, then didactic and a blinding paranoia parable, then very clever with the Clerk's deception, then an underwhelming ending in light of its muddled beginnings. Nevertheless, I'm glad I watched it through as it was genuinely exciting at parts.

I thought the Welles monologue in the middle was him doing an ahead-of-its-time 'Inglorious Basterds' riff, but I did some research and nope, Orson Welles *really* fucking hated the Jerries. Damn.

Definitely far more Lady from Shanghai than Touch of Evil. Feels bland and conventional and at times there's some bad scripting, some stuff that came off as overly coincidental, the pacing felt odd and in the second half it descends in to something bordering on histrionics as one major character starts acting in a way that I didn't completely buy in to. It's entertaining enough stuff and Welles is very good as the villain, but generally the film is unmemorable.

Great noir cinematography, great writing, great performances, what more can you ask for? Welles is fantastic and I really liked the way his character was used as a commentary on WWII, something that must have been especially raw in 1946. Wonderful ending to cap it off, too.

Welles dazzles with the camera, particularly in the early and late portions of the film. The camera movements and angles contribute to a sense of imbalance which works well in this story of mystery and intrigue. Robinson is always fun to watch, and Welles works out nicely in another of his villainous turns. The overall effect feels more conventional than one would expect from Welles, but conventional Welles is better than most everything else.

No one played a bad guy like Welles. The most conventional of any Orson Welles movie I've seen but enough of his magic to remind you who's in the director's chair. Sweet ending too.

Welles and Robinson are really fun to watch here, and cinematography is damn good. The wife character being turned into an idiot by blind love is kinda distasteful though. That happens in a lot of movies, but in this one it seemed a little more...noticeable.

I liked the ending, but this was just kind of ok. None of the acting is bad, but none of it really stood out other than Welles' monologue at dinner. I think this was probably much more suspenseful in the 40s, but I fear time hasn't been too kind to this film.