Dark Stranger is a high concept story about a writer meeting a character out of his novel. The concept’s ambitious because the script–from Betty Ulius and Joel Murcott–is so thorough. Edmond O’Brien’s writer isn’t a Bohemian who might buy into the idea. He’s calculating and positively bewildered.
The script goes through O’Brien’s investigations, his interrogating, all while the subject of his attention–Joanne Woodward–goes through her own crises.
Ripley is really good with the leads’ scenes together. The composition sometimes hints at where their relationship is going, sometimes offers more sympathy to one character than another. Stranger is a television production, so there isn’t much in the way of grand movements; Ripley just knows how to facilitate his actors.
Woodward excels in the second half, as she starts asking more and more questions. O’Brien’s solid. Good support from Evelyn Ankers.
The ending’s lame, but otherwise, Stranger’s good.