[70], Strangers on a Train was adapted for the radio program Lux Radio Theatre on two occasions: on December 3, 1951, with Ruth Roman, Frank Lovejoy, and Ray Milland, and on April 12, 1954, with Virginia Mayo, Dana Andrews, and Robert Cummings.[44]. "He had to have one person in each film he could harass," Granger said. during an early meeting involving Guy and the senator's whole family; she keeps
filming was completed, was institutionalized for treatment, and died of an
and the other, far distant, makes a choking gesture. A recently found longer prerelease British print (Side B) offers "a startling amplification of Bruno's flamboyance, his homoerotic attraction to Guy and his psychotic personality," according to Bill Desowitz of Film Comment. "[37] Bruno, who tells Guy on the train that he admires people "who do things", gets a more vigorous musical treatment from Tiomkin: "Harmonic complexity defines the motifs associated with Bruno: rumbling bass, shocking clusters, and glassy string harmonics. director of photography "[47], Guy and Bruno are in some ways doubles, but in many more ways, they are opposites. Rowland V. Lee Ranch - Fallbrook Avenue, Canoga Park, Los Angeles, California, USA. Strangers On A Train is about two men, Guy Haines and Bruno Anthony, who meet on a train by accidentally knocking shoes. The police question Guy, but cannot confirm his alibi: a professor Guy met on the train was so drunk that he cannot remember their encounter. sexual tension -- that makes the movie intriguing and halfway plausible, and
In the casting of Anne Morton, Jack L. Warner got what he wanted when he assigned Ruth Roman to the project, over Hitchcock's objections. Mysterious Bruno (Robert Walker) hates his father. His best performance and best casting. [6] In 2012, The Guardian praised the film writing "Hitchcock's study of the guilt that taints the human condition is just one cinematic masterstroke after another". The abiding terror in Alfred Hitchcock's life was that he would
Also in the cast are Ruth Roman, Leo J. Carroll, Patricia Hitchcock (Alfred's daughter), Marion Lorne, and Kasey Rogers. Co-adapted by Raymond Chandler from a novel by Patricia Highsmith, Strangers on a Train perfectly exemplifies Hitchcock's favorite theme of the evil that lurks just below the surface of. As with Shadow of a Doubt, Strangers on a Train is one of many Hitchcock films to explore the doppelgnger theme. [63], David Keyes, writing at Cinemaphile in 2002, saw the film as a seminal entry in its genre: "Aside from its very evident approach as a crowd-pleasing popcorn flick, the movie is one of the original shells for identity-inspired mystery thrillers, in which natural human behavior is the driving force behind the true macabre rather than supernatural elements. He is also something of a hedonist. Perhaps there will be those in the audience who will likewise be terrified by the villain's darkly menacing warnings and by Mr. Hitchcock's sleekly melodramatic tricks. Between the two versions of the film, the "British" version most prominently omits the final scene on the train. be accused of a crime he did not commit. Strange thing about this trip. The merry-go-round scene is not in the book, but is taken from the climax of Edmund Crispin's 1946 novel The Moving Toyshop. The theme of doubles is "the key element in the film's structure,"[46] and Hitchcock starts right off in his title sequence making this point: there are two taxicabs, two redcaps, two pairs of feet, two sets of train rails that cross twice. Highsmith (1921-1995), who in her Ripley novels and elsewhere was fascinated by
As a plot, this has a neatness that Hitchcock must have found
Guy wants to move into a career in politics and has been dating a senator's daughter (Ann Morton) while awaiting a divorce from his wife. Realizing that Guy is not the murderer, the police ask him to come to the station to tie up loose ends. A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder. are swiveling back and forth to follow the game -- except for one head,
Reviewed in the United States on January 10, 2023. A film of noir moments galore. Beyond all the historical footnotes and film-buff fascination, Strangers on a Train remains one of Hitchcock's crowning achievements and a suspenseful classic that never loses its capacity to thrill and delight. The first encounter between Bruno and Guy on the train is longer, and features a more obvious homoerotic flirtation by Bruno; In the scene where Guy sneaks out of his apartment to go to Bruno's house, a shot of him opening a drawer to get the map Bruno sketched is added; The very last scene in the US version, which involves a clergyman, was deleted. From its cleverly choreographed opening sequence to its heart-stopping climax on a rampant carousel, this 1951 Hitchcock classic readily earns its reputation as one of the director's finest examples of timeless cinematic suspense. [44] Of greater interest to Warner was the box office take, and the "receipts soon told the true story: Strangers on a Train was a success, and Hitchcock was pronounced at the top of his form as master of the dark, melodramatic suspense thriller. Although
they're now both behind bars as he says, "You've got me acting like I'm a
Bruno knows about Guy well from reading gossip papers. After Guy arrives, he and Bruno fight on the park's carousel. [21] The scripting team added the tennis match and the crosscutting with Bruno's storm drain travails in Metcalf added the cigarette lighter, the Tunnel of Love, Miriam's eyeglasses; in fact, the amusement park is only a brief setting in the novel.[21]. Criss-cross. is softer and more elusive, more convincing as he tries to slip out of Bruno's
Hitchcock
They would both have airtight alibis for the time of the crime, and
And the chocolate ice cream is probably what he thought about first. Once on the train, Bruno orders a pair of double drinks "The only kind of doubles I play", he says charmingly. The two sets of feet in the title sequence match each other in motion and in cutting, but they immediately establish the contrast between the two men: the first shoes "showy, vulgar brown-and-white brogues; [the] second, plain, unadorned walking shoes. [12], Hitchcock then tried Raymond Chandler, who had earned an Oscar nomination for his first screenplay, Double Indemnity, in collaboration with Billy Wilder. In a scene where Guy goes
[36] Although that account continues to be published in books to this day, "it just wasn't true", according to Patricia Hitchcock O'Connell. Dreadful business. "[46] It undergirds the whole film because it finally serves to associate the world of light, order, and vitality with the world of darkness, chaos, lunacy and death. Psychotic mother's boy Bruno Anthony meets famous tennis professional Guy Haines on a train. Guy and Anne coldly walk away from him. Guy wants
With cast nailed down, a script in hand, and a director of photography in tune with Hitchcock's vision on board, the company was ready to commence filming. Another
said that correct casting saved him a reel in storytelling time, since
Walker's role has extreme color, and he projects it deftly. In 2021, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[3]. 2003 biography says she often fell in love with straight women, and her stories
Bruno sends Guy a package containing a pistol, a house key, and a map showing the location of his father's bedroom. "[4], Warner Bros. wanted their own stars, already under contract, cast wherever possible. The emotionally-imblanced and immature Bruno expresses his feelings and Guy his problems in a chit chat. Strangers on a Train is a 1951 American psychological thriller film noir produced and directed by Alfred Hitchcock, and based on the 1950 novel Strangers on a Train by Patricia Highsmith. But Miriam does not want the divorce, and instead plans to live off Haines's money. That was my favorite part of the movie. Strangers On a Train (1951) In Alfred Hitchcock's thriller - an adaptation from Patricia Highsmith's first novel about amoral murderers who 'traded' or 'exchanged' crimes: the opening sequence introduced the duality of the two 'strangers on a train' with their distinctive contrasting shoes: - Bruno Antony (Robert Walker), a . subtext. Theatrical Trailer (SD; 2:34). No matter how well a football team plays, the match has a fixed temporality. Guy tries to persuade Bruno to seek psychiatric help, but Bruno threatens to punish Guy for breaking their deal. The only sadistic part was I never got the hundred dollars."[43]. there would be no possible connection between killer and victim. Guy meets with Miriam, who is pregnant by someone else, at her workplace in Metcalf, their hometown. [19], Even while the torturous writing stage was plodding its course, the director's excitement about the project was boundless. He found exactly what he needed right on the Warners lot in the person of staff cameraman Robert Burks, who would continue to work with Hitchcock, shooting every Hitchcock picture through to Marnie (1964), with the exception of Psycho. "[62] Roger Ebert has called Strangers on a Train a "first-rate thriller" that he considers one of Hitchcock's five best films. ${cardName} unavailable for quantities greater than ${maxQuantity}. Reviewed in the United Kingdom on September 7, 2015, Reviewed in the United Kingdom on February 24, 2021, Reviewed in the United Kingdom on May 21, 2021, Learn more how customers reviews work on Amazon, Closed-captioned, NTSC, Full Screen, Black & White, English (Dolby Digital 1.0), Unqualified (DTS ES 6.1), French (Dolby Digital 1.0), Leo G. Carroll, Farley Granger, Hitchcock, Patricia, Lorne, Marion, Roman, Ruth. He got a treatment that pleased him on the second attempt, from writer Whitfield Cook, who wove a homoerotic subtext into the story. "[22] While Guy and Bruno fight, the ride runs out of control until it tears itself to pieces, flinging wooden horses into the crowd of screaming mothers and squealing children. Barbara Morton: From what I hear she pursued it in all directions. The press release embellished the tale, claiming he left her "dangling in total darkness for an hour,"[36] only then allowing his "trembling daughter" to be lowered and released. Bruno orders with gusto and with an interest in what he is going to eat lamb chops, French fries, and chocolate ice cream. Guy infers that Bruno intends to plant it at the scene of the murder and incriminate him. In Alfred Hitchcock's suspense classic, "Strangers On a Train", a naive and weary tennis pro unwisely allows himself to be enticed into the confidence of a seemingly silly stranger. It is one of the moments in Hitchcock's work that continues to bring gasps from every audience and applause from cinema students. Having read all about Guy, Bruno is aware that the tennis player is trapped in an unhappy marriage to to wife Miriam (Laura Elliott) and has been seen in the company of senator's daughter Ann Morton (Ruth Roman). "perfect crime" in which he would murder Guy's wife, Guy would murder
Baiting Guy, Bruno reveals that he feels trapped by his hated father (Jonathan Hale). BBC Radio 4's Afternoon Play broadcast on 29 September 2011 was Strangers on a Film by Stephen Wyatt, which gives an imagined account of a series of meetings between Hitchcock (Clive Swift) and Raymond Chandler (Patrick Stewart), as they unsuccessfully attempt to create the screenplay for Strangers on a Train. [52], Nowhere is this more evident than the scene where Guy arrives home at his D.C. apartment to find Bruno lurking across the street; Bruno killed Miriam that evening in Metcalf, and has her glasses to give to Guy almost as a "receipt" that he has executed his part of their "deal". conversational web instead of flatly rejecting him. It was not enough for Hitchcock to construct merely a world of doubles even contrasting doubles in a strict polar-opposite structure; for Hitchcock, the good-and-evil, darkness-and-light poles "didn't have to be mutually exclusive. Strangers On a Train 14+ HD CC Thriller 1 Hour 40 Minutes 1951 4.1 43 Ratings Strange thing about this trip. He always used the convention that the left side of the screen is for evil and/or weaker characters, while the right is for characters who are either good or temporarily dominant. Brilliant. One gets the feeling of a closeted homosexual constantly coming onto Guy. Anne. ("he's stronger," he told Francois Truffaut), but Holden would have
The film's opening conversation scene on the train is like a tennis match in which Guy serves up one weak lob after another for Bruno to put sway. with him than with Granger's playboy. What is the climax in Strangers on a Train? I've been hearing about this movie recently and decided to give it a go, and I'm so glad I did! [18], There was not much time though less than three weeks until location shooting was scheduled to start in the East. He
Have watched this movie at least twice previously but it had been many years since I last saw it. Robert Walker performance benefits from a subtle tense urgency that perhaps
in front of Guy's house, and he quickly moves behind the gate with Bruno;
effective scene shows Guy floating in a little boat through the Tunnel of Love
in Hitchcock's "Foreign Correspondent," where all the windmills
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