07. STRANGER ON THE THIRD FLOOR (1940)
Modestly budgeted at an estimated $172000 dollars,
Stranger on the Third Floor has both a strong narrative and an appropriately brooding atmosphere thats achieved through the distinct visual style of the film noir genre. Often considered a quintessential example of the genre heyday (1940-1959), it stars
Peter Lorre as a typically evil murderer who manages to escape being caught when the testimony of a reporter Mike Ward (
John McGuire) who has witnessed the crime, convicts the innocent Joe Briggs (
Elisha Cook Jr) of the deed. When Wards fiancée Jane (
Margaret Tallichet) begins to doubt Briggs guilt, the reporter becomes haunted by whether or not his testimony has convicted an innocent man. It is here where the film offers a unique twist on the theme, as it becomes concerned with Wards guilt over whether what he thinks he saw was correct: interestingly displayed through a surreal dream sequence, where Ward dreams he is convicted of the murder. The imposing images of the angular bars of the prison cell and the terrifying shadow of the electric chair in Wards dream are stylistically impressive and an effective way of expressing his feelings of guilt. Ironically, Wards nightmare becomes reality when he finds himself accused of a second murder, again committed by Lorres character. As the police dont believe that this other person exists, Ward can do little but pray that Jane will find the guilty stranger, proving his innocence. Complete with its foreboding urban setting, angular winding staircases, low camera angles and excellent performances, Stranger on the Third Floor is an outstanding example of the power of the wrongly accused protagonist theme whilst adding its own unique plot points.