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| Edward G. Robinson | ... | Mr. Wilson | |
| Loretta Young | ... | Mary Longstreet | |
| Orson Welles | ... | Professor Charles Rankin | |
| Philip Merivale | ... | Judge Adam Longstreet | |
| Richard Long | ... | Noah Longstreet | |
| Konstantin Shayne | ... | Konrad Meinike | |
| Byron Keith | ... | Dr. Jeffrey Lawrence | |
| Billy House | ... | Mr. Potter | |
| Martha Wentworth | ... | Sara | |
| rest of cast listed alphabetically: | |||
| David Bond | ... | Student (uncredited) | |
| John Brown | ... | Passport Photographer (uncredited) | |
| Neal Dodd | ... | Minister (uncredited) | |
| Nancy Evans | ... | Undetermined Role (uncredited) | |
| Fred Godoy | ... | Undetermined Role (uncredited) | |
| Joseph Granby | ... | Undetermined Role (uncredited) | |
| Ethan Laidlaw | ... | Todd, Customer in Potter's Store (uncredited) | |
| Ruth Lee | ... | Undetermined Role (uncredited) | |
| Lillian Molieri | ... | Undetermined Role (uncredited) | |
| Isabel O'Madigan | ... | Mrs. Lawrence (uncredited) | |
| Gabriel Peralta | ... | Undetermined Role (uncredited) | |
| Gerald Pierce | ... | Kid throwing newspaper shreds (uncredited) | |
| Robert Raison | ... | Undetermined Role (uncredited) | |
| Rebel Randall | ... | Undetermined Role (uncredited) | |
| Johnny Sands | ... | Jogging Student in Woods (uncredited) | |
| Erskine Sanford | ... | Party guest (uncredited) | |
| Pietro Sosso | ... | Mr. Peabody (uncredited) | |
| Brother Theodore | ... | Fairbright (uncredited) | |
| Josephine Victor | ... | Undetermined Role (uncredited) | |
Directed by | |||
| Orson Welles | |||
Writing credits | ||
| Anthony Veiller | (screenplay) | |
| Victor Trivas | (adaptation) and | |
| Decla Dunning | (adaptation) | |
| Victor Trivas | (story) | |
| John Huston | uncredited and | |
| Orson Welles | uncredited | |
Produced by | |||
| Sam Spiegel | .... | producer (as S. P. Eagle) | |
Original Music by | |||
| Bronislau Kaper | (as Bronislaw Kaper) | ||
Cinematography by | |||
| Russell Metty | |||
Film Editing by | |||
| Ernest J. Nims | (as Ernest Nims) | ||
Production Design by | |||
| Perry Ferguson | |||
Art Direction by | |||
| Albert S. D'Agostino | (uncredited) | ||
Costume Design by | |||
| Michael Woulfe | (uncredited) | ||
Makeup Department | |||
| Robert Cowan | .... | makeup artist (as Bob Cowan) | |
Second Unit Director or Assistant Director | |||
| Jack Voglin | .... | assistant director | |
Sound Department | |||
| Arthur Johns | .... | sound | |
| Corson Jowett | .... | sound | |
Special Effects by | |||
| Harry Redmond Jr. | .... | special effects (uncredited) | |
Stunts | |||
| David Sharpe | .... | stunts (uncredited) | |
Other crew | |||
| Gladys Hill | .... | dialogue director | |
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No question about it, "The Stranger" is film noir. This oppressive narrative is shrouded in what must surely be among the darkest visual styles ever. Outdoor, sunlit scenes are few and far between. Most of the picture takes place inside the shadowy mansion of Loretta Young's guardian, inside the town's general store, or within the nearly pitch-black church steeple, where the film climaxes in a highly dramatic manner. This movie is noir, without a doubt.
Orson Welles, Edward G. Robinson and Loretta Young--are all beyond criticism as well, giving finely tuned, subtle performance. Also standing out is a very young, understated Richard Long--proving he had acting chops way back then.
Bronislau Kaper contributes a score to rival other, more highly-regarded composers. There are moments in it of ethereal beauty as well as intense drama.
Yet, apart from its visual style, how is "The Stranger" noir? The answer may lie in another question: who is the hero? If it's the Welles character, then he is an anti-hero and it fits pretty well. However, his new wife, played by Loretta Young, finds herself in a situation most noir, when Welles confesses the murder to her (and later plots her death as well). But Young does not seem like the main character in this tale, nor does Robinson, who is clearly a heroic figure. Perhaps what makes this one noir is the visual style in combination with character situations that complement each other.
"The Stranger" is only a few short steps below "Touch of Evil" in the Welles pantheon.