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Genres: ThrillerDramaMyst
Starring: Orson Welles, Konstantin Shayne, Philip Merivale, Edward G. Robinson, Martha Wentworth, Richard Long, Loretta Young
Director(s): Orson Welles
Available Quality: Hi Def
Country: USA
Year: 1946
Available Quality: DivX, Hi Def, iPod, Hi Def
IMDB Rating: 7.5 out of 10 (7196 votes)
Wilson of the War Crimes Commission is seeking Franz Kindler, mastermind of the Holocaust, who has effectively erased his identity. Wilson releases Kindlers former comrade Meinike and follows him to Harper, Connecticut, where he is killed before he can identify Kindler. Now Wilsons only clue is Kindlers fascination with antique clocks but though Kindler seems secure in his new identity, he feels his past closing in.
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The Stranger (Hi Def) | Resolution: 852x656 px | Total Size: 695 Mb |
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The Stranger (Hi Def) | Resolution: 1280x976 px | Total Size: 1401 Mb |
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The Stranger (DivX) | Resolution: 320x240 px | Total Size: 379 Mb |
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Visitors Review
(20 May 2012)
Too Contrived, I Think
Edward G. Robinson is a Nazi hunter, hot on the track of one of the Big Guys. The trail leads to a sleepy college town, and don't you know it, that new German professor Orson Welles, the one that's getting married tonight to Loretta Young, he's the guy! Wow. Seems there's a few strangers around this place. Who is this Edward G. Robinson guy, asking a lot of questions? Who is this German professor guy, with his tell-tale clock obsessions? But strangest of all is the terrible over-the-top performance of Loretta Young. She starts as the happy go lucky bride, but in no time flat is popeyed and hysterical--she's starting to resemble poor Basil Rathbone in "The Son of Frankenstein". Maybe you should watch it anyway, if only to check out the ultra absurd clock tower climax==that's one way to wind up a movie!
(20 May 2012)
just not enough
The film really just doesn't offer enough for the Welles lover in me for me to rant and rave about the movie. It certainly won't stand up against time like some of his other films have, but not everybody is perfect.
Michael Bo (19 May 2012)
An unlikely place for Nazis
Harper, Connecticut, is a safe heaven in the midst of a world war. Herenobody locks their doors, the weather is nothing if not picturesque atall times, heartland US. The most unlikely place in the world to goNazi-hunting, right? Guess again.Orson Welles' charismatic New England professor is escaped Nazi FranzKindler, orchestrator of the Endlösung, the genocide on the Jews. Onhis tracks is Edward G. Robinson of the Allied War Crimes Commission,intent on bringing Kindler to justice. Caught in the middle is LorettaYoung as Welles' naive young bride.'The Stranger' is not vintage Welles by a long shot, Welles thedirector that is. Its ambitions are not exactly towering, but on theother hand the movie actually made money, something Welles never triedbefore or after, and it's a fluent entertainment piece in a visuallyimpressive expressionistic style with a very volatile camera.
Cristi_Ciopron (18 May 2012)
My least favorite film of Welles'
Pére Robinson and Cagney are my favorites from the betweenÂtheÂwarsgeneration ; The Red House is the film that spontaneously and whollyconvinced me of Robinson's merits and gifts; this took place long ago,in my adolescence. Yet even for a '40s angry pamphlet and propaganda exploitation, THESTRANGER must have seemed pretty cynical and toughÂthe Nazi is caughtin a no less hideous web of treachery, lies, spying, cheating andconspiracy. Pére Robinson was quite miscast in this oneÂhis violent badgloomy tough persona but enhances the feeling that all the actionagainst the incognito Nazi is, morally, completely wrongÂthat this is amanhunt, not a trial.Even for a prototypical Nazi bashing, the ugliness of manhunt is tooobvious.The film is interesting, disjointed, execrably written. The atmosphereof treason and deceit works against Welles' intentions (I guess).Itexplicitly teaches that, before a political imperative, nothing, nosense of honor, etc., is left. THE STRANGER acts as a big blow againstthe antiÂNazi propaganda; not that it rehabilitates the NazisÂit doesnotÂbut because it exposes the NaziÂhunters as amoral cynical villains,unafraid to resort to the basest means. It does a big disservice to thecause it pretends to promote. THE STRANGER shows the NaziÂhunters asempty beings deprived of any humanity whatsoever, apt only to resort tomeans of a shocking monstrosity. The amorality of the conspiracy hereis violently ugly. With his reptilian air and cunning persuasion,Robinson portrays one more villain. I have no idea whether THE STRANGER was a success or not, how it wasreceived by the general audiences (not the critics who have theiragendas, etc.);it would be an interesting chapter of movie historyÂthepublic, popular reception of THE STRANGER.Produced by Spiegel andreleased in '46,with a script rewrote by Welles and his pal Huston, THESTRANGER seems to have passed rather unnoticed by the generalaudiences. Was there any hype? Any success? It would be interesting toknow. I believe that the crass cynicism and aggressiveness prevented itachieving any real popularity with the public. It's awfully, horrendously written, _disqualifyingly written; Welles'sure craft lifts the film above the hellish infamy of this script.
terraplane (11 May 2012)
Another great day at the office for Orson Welles.
The Stranger is one of Welles' lesser known works but it is right upthere with the best, which means pretty much all of 'em! What is afairly simple story is given the full treatment.The cinematography iswonderful-why can't directors use black and white these days?, theyjust don't have the eye for it anymore.It is sometimes said thatWelles' started at the top and then everything went downhill.I don'tagree.The Stranger, Journey Into Fear, Lady From Shanghai,TheTrial,Touch Of Evil etc,etc every one a great film. Given that this wasmade cheaply as a B movie,it blows so many 'great' movies out of thewater.Welles never got within sniffing distance of an Oscar for any ofhis work, the Hollywood mafia saw to that, but when you think thatTitanic scooped the pool it fair makes you weep. Still, some of us knowand some of us don't.You don't need to be a movie buff to watch TheStranger, you just need to be unindoctrinated by the Hollywoodfactory.Watch and enjoy.
Tim Kidner (10 May 2012)
Lesser Welles is a taut little number....
Though I saw this as a grimy, grey and poor transfer in a 'ThrillersCollection' DVD box-set, the direction, story and the characters heldit together.Lesser Orson is still premium film-noir and Edward G Robinson issteadfastly reliable as the War Commissions investigator, eschewing amixture of wisdom and downtrodden-ness. The Nazi he follows, played byKonstantin Shayne, looks and sounds the part as a guilty and scaredman. Able to identify Welles' settled schoolmaster Nazi character, heis soon bumped off by Welles.From here-on in, it's about Welles trying, with ever decreasing successto conceal his crime and his identity, especially from the prying eyesof the investigator, who uses the schoolteacher's new American bride toget close to him. This all culminates in a pre-Hitchcockian clock-towerscramble-to-the-death, that's akin to Vertigo.I rather liked the store-keeper Mr Potter (Billy House, who's also thetown clerk) and his chequers-playing tactics of getting 25c from eachand every competitor and who provides a nice, central link to all thecharacters. His easy laid back and friendly style balanced that of thearrogant Welles and inquisitive Robinson.While it could be argued that a Nazi living in the U.S would not havean American accent as Welles obviously has, all the rest are fine,including Loretta Young as the bride who radiates vulnerability andnaivety. But for me, it's Edward G Robinson's picture as like all greatdetectives, he just munches on his pipe and scans the view forwrongdoers and wrongdoings. And those looking for an array of cameratricks and directorial cleverness often associated with Welles will bedisappointed. There are a few flourishes but generally it's tight andconcise and workmanlike.
dgaither (07 May 2012)
Not one of the master's greats, but gripping drama.
Although this is not one of Orson Welles' masterpieces, it's a verywell made film that holds up well. It's an espionage thrillerconcerning the hunting of Nazi war criminals in the quiet New Englandtown of Harper, Connecticut. It's not a thriller of the modern typewith lots of gunfire, explosions, and car chases to hold one'sinterest. Instead, it depends for tension on drawing us into thevarious characters' (justified) paranoia. It includes terrificperformances by Orson Welles, Loretta Young, and Edward G. Robinsonthat justify the time spent on their own. In addition it has many ofthe Welles signature touches like strange camera angles and brightfaces emerging from deep black shadows. There is a small detail in thebeginning of the movie which had me anticipating an entirely differentending than what was supplied. Without that one detail, the endingwould have been fairly predictable, but because that detail washighlighted the way it was, the movie managed to surprise me with theending. This was another of Welles favorite tricks, to give ussomething insignificant in the beginning of a movie to influence ourexpectations of the rest of the movie.
Matthew Ignoffo (07 May 2012)
A chilling gem
This is not a well-known film, but it is a gem with a great cast. Welles has a field-day as the mysterious stranger who comes to an all-American town and integrates himself. Then Robinson arrives looking for an escaped Nazi war criminal, and strange things begin to happen. The setting, atmosphere, music, and perfomances add up to a chilling thriller. The symbolism of the final sequence in the clock tower is wonderful: the Nazis believed their's was an idea whose time had come, and finally time catches up with their idea.
(05 May 2012)
Welles and Robinson shine
First of all, concerning the DVD edition of THE STRANGER -- the version I own and am reviewing is the Hollywood Classics release. This is the one that comes with the 30-minute documentary on Orson Welles and the (rather frightening) introduction by Tony Curtis. The picture and sound looked quite adequate to me though there is an annoying "Delta" logo that appears occasionally in the bottom right-hand corner. I had never seen the film before and purchased this DVD in a 3-pack of Orson Welles films. For the low price, the value is excellent and the video quality is quite good, though I'm sure it isn't as clear as the more expensive version. The customer will have to decide if they want to pay three times the price to get a cleaner version or get a serviceable copy for the lower cost.Now moving on to the film. This movie is much more straightforward than the other Orson Welles films that I've seen. We have a standard good guy and a standard bad guy, and each character is set up in his role almost immediately. Edward G. Robinson plays the Nazi-hunter who has been tracking Orson Welles' character since the end of the Second World War. Welles' plays a Nazi who has gone into hiding and is now living in small town America as a schoolteacher. The acting from the two leads is spellbinding -- as good as any of their best work, with Welles in particular stealing the show. Welles triumphs in the difficult task of playing a man who has successfully integrated himself in a community, yet allowing the audience to see him as the villain that he is. The viewer never questions why the outlaw has been able to fool his friends and neighbors for months but can also pick up on the same clues that Robinson's character does.The story is not overly complicated and this allows us to pay a lot of attention to the different characters in the movie. The townspeople, without exception, are all given their own motivations without slipping into repetition and the silly catchphrases that movies set in small towns tend to give to their characters. There are also some excellent shots that could only have come from Welles' keen directorial eye. The German's obsession with clocks is an interesting metaphor for the Nazi mindset, but this is kept to a minimum and never becomes overbearing.I highly recommend this interesting film for anyone who enjoys good acting and intriguing storylines. The documentary included on the DVD is very superficial and most of the 30 minutes are taken up by trailers of films, some of which barely feature Orson Welles himself. It's not something that the Welles fan is going to get too much out of and it does not contain enough information for the casual viewer. The introduction by Tony Curtis is frighteningly odd.
gerdeen-1 (04 May 2012)
'Thriller' that's really a subtle reflection on Nazism
Sometimes a quiet message is more powerful than a shout. For instance,"Command Decision," which is all talk, is a better war movie than manyfilms packed with combat. Likewise, "The Stranger," which is set inAmerica and has only one (fairly minor) character with a Teutonicaccent, is one of the most effective movies I have seen about the evilsof Nazism. There are no swastikas or scenes of Hitler's crimes ondisplay here, and there's no more overt violence than in the averagedetective film. De-emphasizing the German trappings may have beendeliberate: We have to look directly at what's in people's souls.The plot, admittedly rather improbable, has a top leader of the ThirdReich blending stealthily into a peaceful New England college town justafter World War II. He seems to be a genial fellow and even sounds justlike an American. The only person who suspects him is a federal agentwho can initially prove nothing. In a series of events that unfoldalmost totally at night, the hunt comes to a climax.Words are vital to this story, and one particular dinner-tableconversation is often cited as pivotal to the plot. But the chat ismore than just a clever device. It's a chilling illustration of howordinary people, talking off the tops of their heads, can rationalizeat least the idea of genocide.To oversimplify, the moral of this eerie tale is that there is evil inevery one of us. That doesn't mean that Hitler and his millions ofvictims were morally equivalent, or that the Nazi fugitive and hispursuer are just two sides of the same coin. Not at all. But the pointis that inhumanity is all too human. All of us must guard against theworst in ourselves. Otherwise, in some times and some places, the veryworst can happen.
(03 May 2012)
Wells was a ham on purpose
He realized Edward G. Robinson and Loretta Young could steal films from others easy so he had to make sure his character (who isn't in every scene) counted for a lot. Besides he maintains quite a stiffness through several scenes to make sure his Rankin-Nazi character never becomes too likable (unlike Charlie Kane in Citizen Kane). As for the plausability of the plot. It may interest everyone to know gangster Al Capone's own brother, Richard Hart, was bodyguard to President Calvin Coolidge in real life. Excellent film with (then) state-of-the-art camera angles.
peapulation (03 May 2012)
Welles' weakest is still very good
This film is regarded as Welles' worst. Well, that's fantastic. Becauseit really is a very good movie. The way Welles uses the lights and theexpressional lighting. His camera angles, and even the overall actingsimply work.In the end, the lack of close ups are not missed, because it's as if itwere up to the audience to choose whether they would take the good guysfor good guys and the bad guys for bad guys. It's undoubtable thatWelles wanted to portray Nazism as evil, but in the end it's up to theaudience.It's the theatrical ways of Welles which reappear in this movie thatgive a not-so-original plot. And still it's one to see if you likeWelles.The strongest element - Welles and everything he had to do in it.The weakest element - The storyline and plot WATCH FOR THE MOMENT -When Kimmler lies to his wife about the man he murdered. She believeshim. She hugs him. Both are covered by a black shadow. Both arepartners in crime.
oscarbreath (02 May 2012)
Thriller, drama? Yes. Noir? No
Did Orson ever do anything in moderation? Like Touch of Evil, this onehas overheated writing, acting and direction, all due no doubt to thelarger-than-life aspirations of Mr. Welles.The story here is painfully simple - find the Nazi and bring him tojustice. Thanks to IMDb, I now know that there was more of a prologuebefore Welles is discovered, because the way it is now, one minute theguy's south of the border somewhere, the next he's getting off the busin Connecticut. With Edward G. not even trying to hide, he's right nextto the guy the whole time, puffing smoke in his face! OK, so they foundNazi Welles. Everyone knows it's him, there's no need for the trappingand plotting, why not just arrest and try him, if it's the wrong man hewill go free? Oh well, that wouldn't be much of a movie would it?Better to keep putting poor loving wife Loretta in constant peril. Andgive Orson a chance to over-emote all over town. At least they didn'ttry to poison her, I guess they felt that was too cliché even for them.Edward G. is awfully blasé about Loretta's situation too, he seems tothink that if she needs to die, well that's a small price to pay.Disappointing film on all counts. It does feel like low-rent Hitch.
talbs67 (01 May 2012)
Hard to believe Welles directed this awful movie...
I'm finding that I'm quite at odds with many reviewers concerning "TheStranger." They and I obviously live in different worlds."The Stranger" is one of the clumsiest, most obvious, most absurdmovies I have ever seen -- which is made even worse by the fact thatOrson Welles not only starred in it but directed it, too. This moviedemands that the viewer suspend all disbelief and swallow thesupposition that an extremely prominent Nazi war criminal -- who hasn'ta trace of a German accent -- can somehow escape Germany, obliteratepractically all evidence of his past, and get hired as a Connecticutprep school instructor, mere months after the end of the war.There are no surprises in this movie whatsoever; we learn almost at thebeginning who the bad guys and the good guys are, and we can see everyplot development coming a mile away. You will marvel at the laxinvestigating and policing procedures, the overwrought scenery chewingof Loretta Young, and the gullibility of many of the characters, not tomention Welles's condescending portrayal of the excessivelystereotypical "village folk" who populate the background of this movie.In 1946, Bosley Crowther hit the nail on the head in his review in theNew York Times: "He is just Mr. Welles, a young actor, doing a boyishlybad acting job in a role which is highly incredibleÂanother weakfeature of the film."I give this movie a 3 out of 10 because of its entertainment value --that is, like "Plan Nine From Outer Space," it's so bad, it's fun towatch. The noir cinematography is tricky, although quite extreme andself-conscious, and the film has value as a period piece with lots oflocal color that makes it a travelogue into the past.Otherwise -- hold your noses!
lastliberal (01 May 2012)
The angel of justice prevails.
An absolutely outstanding bit of film noir and a showcase for some veryfine actors of the period.Victor Trivas' story received an Oscar nomination, but Orson Welles wasmagnificent in direction and acting in this film about Nazi's hiding inAmerica. He almost got away with his ruse, but he got to ranting somuch that he slipped and a Government investigator (Edward G. Robinson)caught it.The rest of the film was a cat and mouse adventure as Robinson tried toconvince Welles' new wife (Loretta Young) that she married a warcriminal, and enlist her help in his capture.Excitement throughout featuring murder and attempted murder, endingwith with a twist that could only occur as a result of the Nazi'sefforts.
(01 May 2012)
One of the darkest films of this giant film maker!
Welles made a little gem with this picture. He followed the lines about a nazi who assumes a new identity in a small town.But Edward Robinson is ravishing when he reminds a wise statement of Ralph Waldo Emerson :Commit a crime and the world is made of glass .Superb dialogues. Powerful intense with a gothic horror ending . As all the works of the Wisconsin's genius , unforgettable.
(24 April 2012)
Great Movie
I have waited many years to get a DVD copy of this after many viewings from my worn out vhs copy. This is great teaming between Welles and Robinson. The subject is good too. Viewers may also like Hitchcock's Notorius.
jasonnaas (23 April 2012)
Surprisingly Good!
Wow, I was pleasantly surprised by Welles' direction and performance inTheStranger. Some of my favorite moments were: when Rankin gathered up thenewspaper in the woods, the first scene with Meineke and Potter in thedrugstore (very naturally acted), Rankin doodling the swastika in thephonebooth (wicked!) and Edward G. Robinson's tumble down the stairs. Themusicalscore was unbelievably tense in a few scenes as well, especially in thepaper chase/murder. Two bones to pick about the film, though. One is aplotpoint - why didn't they look for him in the clock tower in the first place(very Frankenstein-ish at that point, though. Quite nice). The other isLoretta Young's acting. EXTREMELY overwrought. I kept expecting her to jamher fist into her mouth in that "terrified" pose that actresses used backthen. No matter, though. This was a first-rate thriller--no use comparingitwith Kane or Ambersons, it's apples and oranges really. Watch this and,say,Vertigo or The Man Who Knew Too Much and you'll be convinced that Wellescould have given Hitchcock a run for his money in the thrillerdepartment.
Robert J. Maxwell (20 April 2012)
Impaled on the Sword of Justice.
No, it's not Albert Camus. It's better -- more dramatic, more visual,more bombastic -- it's Orson Welles. Welles at the time was havingtrouble with his reputation. He couldn't finish a movie, it dragged onforever, it cost a fortune, and so on. So he ran into difficultiesraising money, as he would for the rest of his life. This was his shotat proving he could turn in a commercial success as well as anyoneelse. Don't know if it convinced the venture capitalists but it's anabove-average tale of Edward G. Robinson uncovering the identity ofFranz Kindler (Welles), one of the more atrocious of the Nazicriminals, who has hidden himself as a teacher at the elite HarperSchool. (The name of the prep school Welles himself attended as achild.) Welles is a respectable figure in this small New England town.When a deliberately released ex-Nazi tracks him there, with Robinson inhis wake, Welles kills his old friend without a qualm and buries him in"a densely wooded area." Welles, as Kindler, even kills his wife's dogthat threatens to dig up the body.It's not a sinister/comic masterpiece like "The Third Man," though theplot conforms to a similar template. And it's certainly not "CitizenKane." It's Welles bringing it all home. But, the thing is, he does agood job of it too. Commercial it may be, but it's unmistakably Welles.It's as if Copley had painted a portrait of Paul Revere and had addedat the bottom a slogan -- "Buy Revere Copper." Welles simply can't keephimself out of the picture. There are all sorts of quirky camera anglesand strange shadows and overlapping dialog. Best scene: Welles isenclosed in a phone booth. He's calling his wife and inviting her to ameeting that will result in her death without his being there. Welleswhistles tunelessly, waiting for the call to go through, and on anotepad with a pencil tied to it, he sketches a clumsy swastika, thenturns it into a box and crosses it out. And all the time he projectsplacidity, even boredom.There are a couple of the unusual character actors that Welles liked toinclude in his films. Nobody is the equivalent of Dennis Weaver in"Touch of Evil." (This is a commercial effort, right?) But Mr. Potter,who runs the general store comes close. Nobody else comes close. EdwardG. Robinson is fun as the war crimes investigator. Loretta Young was aname but adds nothing special. Richard Long is a disaster.Welles gives his real identity away at dinner when he carries on abouthow the Germans are all into racial superiority and Siegried's swordand whatnot and, when somebody objects that Marx wasn't dictatorial, hereplies that Marx wasn't a German, he was a Jew. (Why couldn't Robinsonsimply have vetted Welles' curriculum vitae?)Somebody quotes Emerson's famous statement that, to someone who hascommitted a crime, the earth is made of glass. Emerson was into"immanent justice," meaning that even if men didn't catch you at it,God would give it to you in the neck in the form of bad luck. (That'sNew England for you.) Welles doesn't get it in the neck. He gets it inthe abdominal cavity in a very dramatic (and commercial) climax.The movie was made to satisfy all tastes and it gets the job done.Really worth seeing.
(19 April 2012)
McCarthy-era Melodrama
In the aftermath of the second world war, paranonia became one of the major features of American culture. There were conspiracies everywhere. While the politics of paranoia are usually associated with anti-communism, it did exist in many other forms at the time. The Stranger is one example of that paranoia.Rather than seeing communists under every bed and in every closet, there were some like Orson Wells who saw fascists. What is most remarkable is how similar the mindset and the logic is. There is always the unseen enemy within. There is always the idea of innocent american values being corrupted. There is always the idea of the foreign threat to the all-american ideal. And the idea of the secret conspiracy that aims to overthrow civilization itself. The ultimate observation being that the paranoid mindset was pervasive across American culture of that era.The film is basically a old fashioned melodrama with archtype characters. We have the ideal New England town full of ideal Americans. But in its midst is an evil foreign looking european clock tower. The symbolism isn't exactly subtile. Nothing in the film is very subtile.Our villian here is a teacher (corrupting the virtuous American young) who is marrying the pure innocent daughter (corrupting the virtues of our innocent American women) whose father is the local judge (the corruption reaches into the law and the upper class).A group of nazi-hunters tracks a low-level nazi hoping they will lead them to a upper-level nazi. The upper-level nazi turns out to be our villian living in New England. We then get to the real melodrama. Welles chews the scenery and twirls his non-existent mustache. He tries so hard to be evil that he ends up going way over the top. The low point has him poisoning a dog to cover his tracks.The film has logic problems all over the place. Welles is supposed to have been a high-ranking nazi. But yet we are told that even after having found him, there is simply no way to identify him or do anything about him. This justifies a further roll down the paranoia path. Rather than just arresting the exposed nazi criminal (which the film claims is impossible), the people around him have to be "turned". Its a very HUAC/McCarthy kind of logic that has little to do with the pursuit of nazi war criminals.The anti-communist hunters had similar problems. They could track down suspected communists. But only through the confessions of others before the committee could they positively identify them publically as communists. The logic of the film anticipates the logic of the House Unamerican Activities committee a few years later.The film also unfortunately moves into Welles' other preoccupation of that time seen sometimes in his newspaper columns. That the occupation regime in Germany in the immediate postwar period was nowhere near harsh enough. That Germans as a whole had some basic drive toward world conquest and that fascism had some ethnic component to it leading all germans inevitably toward a revival of nazism. In seeing fascism in these terms, he significantly undermines the anti-fascist message of his works and specifically undermines "the stranger". Seeing fascism as an ethnic disease rather than a political idea seems very naive and very foolish today.The film moves on to a sort of conclusion. WASP womanhood turns against nazism and saves the day only after discovering that the nazi plans to kill her as well. We get a good action sequence in the clock tower to wrap things up. But the path taken to get there is rather contrived and silly.It would have been a better film if it had stuck to a no-nonsense story of tracking down a war criminal. The whole theme of corruption, the conspiracy and the hidden enemy within doesn't add anything good. It would have also been better if (for example) Loretta Young had turned against him because he was a war criminal rather than because he was going to kill her.In terms of the other aspects of the film, it was another step down from Welles' previous work. The music is a step down. The camera work is a step down. Judged by the standards of the average second rate studio melodramas of the era, its a good film. As a work that aspires higher than that, it has lots of issues.
Review total: 20, showing from 1 to 20