For the first week of November 2017 as part of the Thursday Movie Picks series hosted by Wanderer of Wandering Through the Shelves. We go into the subject of strangers as it relates to those who arrive unexpectedly not knowing why that person is here. Here are my three picks:
1. The Stranger
From Orson Welles is a film that revolves around a former Nazi trying to rid of his former life by becoming a schoolteacher in a small town as he’s being pursued by a government agent. Welles would play the lead role as it revolves around elements of paranoia and identity as the film does feature a great supporting turn from Edward G. Robinson as this government official asking questions about Welles’ past life. The film features a lot of the visual traits that Welles is known for in his filmmaking career in its approach to intricate framing devices as well as putting more bite to a story that could’ve been an ordinary noir film.
2. Strangers on a Train
From Alfred Hitchcock comes this adaptation of Patricia Highsmith’s novel about a tennis player who meets a mysterious man and makes a deal with this man to kill his wife and the tennis player would kill someone for that man in return. It’s a film that explore the idea of guilt as well as what happens when the idea of a deal is made and that man had to return the favor. It’s among one of Hitchcock’s most inventive films as it play into all sorts of intrigue and visual set pieces including the scene of the tennis player’s wife being killed nearby a fair.
3. The Passenger
From Michelangelo Antonioni comes a film that wasn’t initially well-received when it first came out in 1975 but it would later stand as one of his finest films as it starred Jack Nicholson as a journalist who takes on the identity of a dead man unaware of what that man is known for. Shot on various locations in North Africa and in Spain, the film plays into the world of a man running away from himself as he’s joined by Maria Schneider on this trip of identity and loneliness. It’s a film that has gotten more intriguing right up to the film’s penultimate shot that goes on for seven minutes in this amazing long-take tracking shot that shows Antonioni being a master of space and time.
© thevoid99 2017
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