Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

The trouble with this Stranger is that it walks too softly. I agree with others: the movie is too low-key for its own good. Unfortunately, the narrative straddles a number of movie genres— romance, crime, regeneration, noir— without blending them into a compelling whole. At the same time, the parts are stretched out at such a leisurely pace, it's sometimes hard to stay involved. Then too, Cotten is a master of subtlety and can play a nuanced psycho as in Shadow of a Doubt (1943) to perfection. Here, however, he doesn't supply the kind of tough- guy edge of a petty criminal and stick-up man at those moments when they should surface. As a result, we never see the side of his personality that's in conflict with his charming, sociable side. Cotten's performance is perfect for the romantic side, but not for the tough- guy criminal side. Thus, the reform that comes at the end lacks the contrast and dramatic impact it needs. All in all, I think the film works best as a romantic tale of moral regeneration. The screenplay could have deepened this approach by making Hale (Cotten) a con-man gigolo instead of a violent criminal, that is, a man who is reformed by coming home to his first and one true love, Elaine (Valli). For one, that would have eliminated the ridiculous sequence where, as reviewer cutterccbaxter notes, Hale takes three slugs in the back while in a rolling car, yet emerges in the next scene with his arm in a sling! My guess is that the film was rushed into production to cash in on the success of the Valli-Cotten teaming in The Third Man. The result, however, is a Luke-warm mix at best.

It must have seemed like a good idea to reunite Joseph COTTEN and VALLI as co-stars in a darkly lit, low-key drama about a man who is a born loser, a lot like Uncle Charlie of "Shadow of a Doubt"--the kind of intense character that Cotten always seemed to play. And they were wonderful as the stars of "The Third Man".But his intensity here is not quite as striking--in fact, he's so mellow that when he meets VALLI and decides he needs to use her to further his goal of being seen as an upright citizen in a small town, her melancholy bitterness and his restraint doesn't provide enough conflict to maintain interest.Nor is it helpful that SPRING BYINGTON is her usual cheery self, totally charmed by the stranger in town who seems like such a nice, harmless guy who needs a good job. She and PAUL STEWART are effective enough in supporting roles, but nothing really helps. The script is dull, the characters lack chemistry and the denouement leaves the viewer unsatisfied with the whole thing.Made before "The Third Man" but released a year or so later, it tried to capitalize on the names (Cotten and Valli), but was quickly relegated to the status of an A-film that looked more like a B and did nothing for their respective careers.Summing up: Trivial film is easily forgotten--nothing new here and it's not film noir at all, as someone else has suggested.

No, folks, this isn't "noir." Not even "pseudo-noir." What we have here is an RKO melodrama, adequately directed by Robert Stevenson, who would end his career as a Disney mainstay. Yes, this is the same director who is responsible for "Mary Poppins." The acting is fine, although the plot is forced and muddled. The first two-thirds of the film works well, but everything seems to fall apart during the last twenty minutes.Cotten is his usual professional self. "Villa" performs her part quite well. Regardless, this flick plays as a definite "B" movie.If only the finale had kept up with the promising premise.

Joseph Cotton (Chris Hale) is a gambler and has a hidden past which is going to catch up with him, he stole a great deal of money from the Mob in Vegas and his days are numbered along with Paul Stewart(Whitey)(who appeared with Orson Welles and Joseph Cotton in the Old Radio Days) Whitey tries to get his share of the dough and causes a great deal of problems. In the meantime Hale falls in love with Alida Valli (Elaine Corelli, Valli) who is a a disabled rich woman. Even the famous Jack Paar appears in this picture as (Roy Healey) and performed a lot better on TV than his role in this pic. There is a high speed chase, 1950's style, and a very romantic scene where Cotton's sweetheart (Valli) tells him, "no matter where you go, You Belong to Me, we are made for each other, either in this world or another". Joseph Cotton was a great actor, he appeared in "Niagara" with Marilyn Monroe and many famous leading ladies. If you love Joe Cotton, you just have to view this well made 1950's film. It is way beyond criticism!