There were plenty of directors in Hollywood in the ‘40s and ‘50s that—mostly without knowing it or thinking about it—developed the distinctive look we’ve come to know as film noir. I don’t think any were better at it than Orson Welles. In fact, he pioneered many of the signature camera angles and lighting. This is one of the best noirs I know, with Edward G. Robinson a dogged pursuer of a Nazi extermination camp designer, costarring Loretta Young, and Orson himself as the bad guy, a role he always seemed to relish. As usual, somebody else got his hands on it and cut thirty minutes. I can’t say how much this damaged it; to tell the truth, it seems pretty complete at its current 95 minute running length.