Just perfect...

Good start, but then it gets ruined

This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

Wow! What a bizarre film! Unfortunately the few funny moments there were were quite overshadowed by it's completely weird and random vibe throughout.

Three Strangers is directed by Jean Negulesco and written by John Huston and Howard Koch. It stars Sydney Greenstreet, Peter Lorre and Geraldine Fitzgerald. Music is by Adolph Deutsch and cinematography by Arthur Edeson.A tricky movie in structure as it constantly shifts between three character arcs to lead us to its resolution. Plot finds Crystal (Fitzgerald) luring Johnny (Lorre) and Arbutny (Greenstreet) to her apartment to make a wish in front of a Chinese idol known as Kwan Yin. It's believed that Kwan Yin will bring a wish true if requested by three strangers at midnight. They mutually agree on purchasing a lottery ticket and vow to split the winnings evenly. Naturally things don't go as planned…The key issue here is that the three characters are tainted by their weaknesses, so as greed, paranoia, bad luck and jealousy grips their respective lives, Kwan Yin deals them the cards they deserve. Negulesco and his writers give the actors meaty parts, thrusting the characters into a world of embezzlement, murder, imprisonment and alcoholism. The vagaries of fate shows its hand as well, and with Edeson's black and white photography cosying up to the thematics, pic rounds out as a thriller cum drama with added mysticism for good measure.Huston's noir shadings are evident, and since it was written before it, this makes for a good appetiser to The Maltese Falcon. Good fun to be had here and the final outcome for our three strangers doesn't disappoint either. 7.5/10

Ridiculous writing and even with Geraldine Fitzgerald, Peter Lorre and Sydney Greenstart starring, basically nothing can really help this film.Fitzgerald draws the other two guys and they wish before some Chinese idol to have a sweepstakes ticket. The problem with them and this film is that they have far too many personal problems between them.Joan Lorring comes off after playing Bessie in her Oscar nominated "The Corn is Green," the year before to portray Lorre's girlfriend. At the beginning, she is still quite a shrew as in 'Corn,' but she suddenly comes to light and shows a compassionate side about her.Lorre can't even be his usual devilish way here thanks to the inane writing. Greenstreet has his moments such as his crack-up scene, but he too goes over-the-top in quite a campy performance.Fitzgerald here really steals the show as a woman who tells the ultimate lie to her husband's mistress so that she can get him back. She is the real shrew here. Unfortunately, the writing does her in as well.

With its low-key black and white cinematography, hard-boiled characters of profound weakness and an almost cheerfully subversive story, Jean Negulesco's Three Strangers is undiluted nostalgia of an urbane and cunning variety. Never so far away from rationality that it is an altogether unique yet unmistakably theatrical parable, it makes a shadowy and alluring potboiler, reaching some moments of pure magnetism in a handful of its crucial sequences.The script by John Huston and his friend Howard Koch is masterful in structure. The film begins in the shadows and fog of the London streets as Geraldine Fitzgerald coaxes two strangers, Sydney Greenstreet's caricatured attorney Jerome K. Arbutney and Peter Lorre's charismatic and cultivated alcoholic Johnny West to her London pad on Chinese New Year at the hand of her doctrine that if three strangers make the same wish to an idol of the Chinese goddess of fortune and destiny, the wish will be fulfilled. Because money will make their dreams come true, the three gamble on a sweepstakes ticket for the Grand National horse race together and concur that they will not sell the ticket if it is selected, and will hold onto it until the race is run. Fitzgerald would use the money to attempt to win her alienated husband back, Arbutny to lay the groundwork for his appointment to the esteemed Barrister's Club, and Johnny to purchase a bar as his home.After this single, taut, spare and graceful expository dialogue scene, the plot strands of the three strangers are unraveled, demystifying who we began to believe they were in the initial scene. Greenstreet insatiably and uproariously overplays as Arbutney, who we learn has looted a trust fund. Lorre is seamlessly graceful as the drunk who becomes enmeshed in a murder of which he's not guilty, while Fitzgerald is astonishing as a manipulative and truly unpredictable woman, a femme fatale of the highest caliber.Undeservedly obscure and overlooked, Three Strangers is about the human desire to look to gods and idols to resolve our problems, only to be driven into worse new ones. Mostly owing to the performances and the cynical manipulation of the noir plot, the film resolves as kind of a black comedy. It is an admirable and deftly executed variation on the hopeless and acerbic atmosphere of the film noir. In noir, characters are corrupt fall guys of the universe, brimming with existential distress, just like us all. Why not find a chuckle or two in it?

Three Strangers is not a typical Hollywood film. Dark and philosophical, it introduces the viewer to three people, strangers to one another, and then follows their sad, desperate lives. While one reviewer on this site says it's a shame they don't make movies like this anymore, the fact is, they almost never made movies like this back then. This is far less neat and more philosophical than your typical 40s flick, a movie about strange twists of fate and the ways in which people fail to take responsibility for their actions.The cast is excellent, with Peter Lorre particularly impressive in one of the best performances of his career as an alcoholic who thinks too much and does too little. I was also quite taken by Joan Lorring's touchingly vulnerable performance as a girl in with the wrong crowd.Admittedly the ending ties things up in a neat little bow, yet for the most part this movie is far closer in spirit to the indie movies of the 1990s than to the film noirs of the 1940s it could be mistaken for.