To amuse another guest, Bruno playfully demonstrates how to strangle a woman. At first glance, Guy represents the ordered life where people stick to rules, while Bruno comes from the world of chaos,[49] where they get thrown out of multiple colleges for drinking and gambling. producer (uncredited) Music by Dimitri Tiomkin . The It is a twisting story of a male-on-male relationship that Patricia Highsmith often proffered (same-sex, male or female) in her best novels like this one. Barbara tells Anne that Bruno was looking at her while strangling the other woman, and Anne realizes Barbara's resemblance to Miriam. manner is pushy and insinuating, with homoerotic undertones. "[17] This would be their last collaboration. "[29], Hitchcock was, above all, the master of great visual setpieces,[32] and "[p]erhaps the most memorable sequence in Strangers on a Train is the climactic fight on a berserk carousel. [12][15] Chandler took the job despite his opinion that it was "a silly little story. 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. Hitchcock's trademark cameo) but you can look for yourself, in chapter six of She threatens to claim that he is the father, in order to thwart any divorce attempt. "[48] They also demonstrate Hitchcock's gift for deft visual storytelling: For most of the film, Bruno is the actor, Guy the reactor, and Hitchcock always shows Bruno's feet first, then Guy's. [44] It premiered in New York on July 3, marking the reopening of the extensively remodeled Strand Theatre as the Warner Theatre, and in a dozen cities around the country. Please help this article by looking for better, more reliable sources. [17] Although Ormonde was without a formal screen credit, she did have two things in her favor: her recently published collection of short stories, Laughter From Downstairs, was attracting good notices from critics, and she was "a fair-haired beauty with long shimmering hair. flirtatious and seductive, sitting too close during their first meeting, and One of the most popular psychological crime thrillers that Hitchcock ever made is definitely Strangers on a Train, the master's adaptation of crime novelist Patricia Highsmith's debut novel that hit theaters back in 1951.Even though a lot of film scholars over the years considered the movie at least to a degree inferior to Hitchcock's landmark films such as Vertigo or Rear Window, this . Although The U.S. Senate was busy investigating the suspicion that 'moral perverts' in the government were also undermining national security going so far as to commission a study, Employment of Homosexuals and Other Sex Perverts in Government. "The scene gives a beautifully exact symbolic expression to Guy's relationship with Bruno and what he stands for. Hitchcock, promotionally photographed many times over the years strangling various actresses and other women some one-handed, others two found himself in front of a camera with his fingers around the neck of a bust of daughter Patricia;[26] the photo found its way into newspapers nationwide. "[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. One could study it forever. Is he dishonest? The creepiness factor holds up very well. Robert Walker is uncanny. Hitchcock wanted the phone in the foreground to dominate the shot, emphasizing the importance of the call, but the limited depth-of-field of contemporary motion picture lenses made it difficult to get both phone and women in focus. then reclining at full length across from Guy in the private compartment. An early preview edit of the film, sometimes labeled the "British" version although it was never released in Britain or anywhere else, includes some scenes either not in, or else different from, the film as released. 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. It's not just a ripping-good thriller but a film student's delight and a perversely enjoyable battle of wits between tennis pro Guy (Farley Granger) and his mysterious, sycophantic admirer, Bruno (Robert Walker), who proposes a "criss-cross" scheme of traded murders. with any force or conviction. "The Band Played On" makes its final reprise during Guy's and Bruno's fight on the merry-go-round, even itself shifting to a faster tempo and higher pitch when the policeman's bullet hits the ride operator and sends the carousel into its frenzied hyper-drive. When he reaches his destination, Guy bids goodbye to Bruno, thinking nothing more of the affable but rather curious young man's homicidal theories. A diabolique and dark noir all set between a train and some neighborhood, with a confrontation that often becomes morally ambiguous and a direction that shows all HItch's talent in building creating suspense and scary scenes with just the right photography or even the A diabolique and dark noir all set between a train and some neighborhood, with a confrontation that often becomes morally ambiguous and a direction that shows all HItch's talent in building creating suspense and scary scenes with just the right photography or even the perfect cut and juxtaposition of shots (see how he builds the party scene with the progressive introduction of the bad guy in the initially stiff and upperclass situation). # staring # stalker # alfred hitchcock # strangers on a train # tennis match. Farley Granger, Roman, Ruth, Alfred Hitchcock, Hitchcock, Patricia, Leo G. Carroll, Lorne, Marion, Walker, Robert. Highsmith (1921-1995), who in her Ripley novels and elsewhere was fascinated by The website's consensus reads, "A provocative premise and inventive set design lights the way for Hitchcock diabolically entertaining masterpiece. Strangers on a Train: A Hitchcock Classic (SD; 36:44) is a nice overview with Peter Bogdanovich and several others discussing . But "[21] Hitchcock, who had drawn gay characters so sharply yet subtly in Rope in 1948, "drafted the left-leaning Cook expressly because he was comfortable with sexually ambiguous characters. But Hitchcock takes music to another level. said that correct casting saved him a reel in storytelling time, since audiences would sense qualities in the actors that didn't need to be spelled The only sadistic part was I never got the hundred dollars."[43]. Addeddate 2021-02-10 15:58:01 brainy criminals who functioned not out of passion but from careful 'If the man had raised his head even slightly", Hitchcock said, "it would have gone from being a suspense film into a horror film. 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. As Guy listens with detached amusement, Bruno discusses the theory of \"exchange murders.\" Suppose that Bruno were to murder Guy's wife, and Guy in exchange were to kill Bruno's father? Guy infers that Bruno intends to plant it at the scene of the murder and incriminate him. He makes an and Bruno struggle as a carnival worker crawls on his stomach under the during an early meeting involving Guy and the senator's whole family; she keeps The That evening, Bruno follows Miriam to an amusement park and strangles her while Guy is on the train to Washington. [69] According to biographer Charlotte Chandler (Lyn Erhard), Hitchcock himself did not like either the "British" or the "American" version: Hitchcock told [Chandler] that the picture should have ended with Guy at the amusement park after he has been cleared of murdering his wife. been all wrong -- too sturdy, too put off by Bruno (despite the way Holden Surely few expected his most riotous, unrestrained film, a gleeful melange of vicious black comedy, exciting suspense, mocking manipulation, and astonishing flights of fancy. was a classical technician in controlling his visuals, and his use of screen Walker plays Bruno as Guy Haines, a famous tennis player, is recognized on a train by Bruno Anthony, whose conversation shows a detailed knowledge of Guy's private life. [21] "To all appearances Guy is the all-American stereotype, an athlete, unassuming despite his fame, conservatively dressed," wrote Carringer; he is "a man of indeterminate sexual identity found in circumstances making him vulnerable to being compromised. Unfortunately, he is serious while Guy brushes it off. Aboard a train bound for New York, Guy, the tennis pro, is shocked to discover how much information the wealthy stranger, Bruno, knows about him. Certainly the casting of Farley Granger as Guy and Robert Walker as Bruno "[28], Principal photography wrapped just before Christmas, and Hitchcock and Alma left for a vacation in Santa Cruz,[26] then in late March 1951, on to St. Moritz, for a 25th anniversary European excursion. face, and Guy stands to his right, outside the gate. It proceeds, as Hitchcock's films "[53], Hitchcock continues the interplay of light and dark throughout the film: Guy's bright, light tennis attire, versus "the gothic gloominess of [Bruno's] Arlington mansion";[46] the crosscutting between his game in the sunshine at Forest Hills while Bruno's arm stretches into the dark and debris of the storm drain trying to fish out the cigarette lighter;[54] even a single image where "Walker is photographed in one visually stunning shot as a malignant stain on the purity of the white-marble Jefferson Memorial, as a blot on the order of things. in a public fight with her earlier on the day of her death, and even told his fiance Reviewed in the United States on June 2, 2022. Guy nervously steps into the shadows with Bruno, literally behind the bars of an iron fence; "You've got me acting like I'm a criminal", he says. [12], Securing the rights to the novel was the least of the hurdles Hitchcock would have to vault to get the property from printed page to screen. 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. ${cardName} not available for the seller you chose. This is the so-called "British" version of the film (which was included on the "flipper" DVD a few years ago) which runs about two minutes longer than the final cut and has some alternate takes. Patricia, as the outspoken young Barbara Morton, kid sister of Guy's fiance How perfect for a playful proposal: I'll kill yours, you kill mine. upstairs in the dark in Bruno's house, Hitchcock told Truffaut, he hit on the Enhancements you chose aren't available for this seller. To add the following enhancements to your purchase, choose a different seller. The abiding terror in Alfred Hitchcock's life was that he would the DVD, 12 minutes and 16 seconds into the running time. Reviewed in the United States on October 15, 2007. Hitchcock himself designed Bruno's lobster necktie, revealed in a close-up to have strangling lobster claws,[26] and "he personally selected an orange peel, a chewing-gum wrapper, wet leaves, and a bit of crumpled paper that were used for sewer debris"[22] in the scene where Bruno inadvertently drops Guy's lighter down the storm drain. Robert Walker is fabulous as the twisted Bruno. The kid # travel # amazing # kit harington # you are amazing # youre amazing. are swiveling back and forth to follow the game -- except for one head, According to Bruno, it's all to be read in the newspapers, especially the gossip concerning Guy's relationship with the daughter of a United States senator, and the ongoing drama with Guy's soon-to-be ex-wife, a good-time gal who's pregnant with another man's child. "[4], Warner Bros. wanted their own stars, already under contract, cast wherever possible. temporarily dominant. + a very good 36 min documentary on the film ,a 7 min feature with 'murder victim' Laura Elliot, an 11 min 'Hitchcock family' feature and a 12min appreciation by director/fan M.Night Shyamalan- so all in all a good package of a film that's always worth another viewing,that's currently available at a good prices. Bruno mentions Guy's missing cigarette lighter to Anne and claims that Guy asked him to search the murder site for it. "Holden would have been all wrongtoo sturdy, too put off by Bruno", writes critic Roger Ebert. Guy is offended by calculation, and usually got away with their crimes. With his new writer, he wanted to start from square one: At their first conference, Hitchcock made a show of pinching his nose, then holding up Chandler's draft with his thumb and forefinger and dropping it into a wastebasket. That was my favorite part of the movie. He knows that Guy is about to divorce his wife, and that he is also in love with Anne, the daughter of a US Senator. strangers agrees to it. Disc2 contains the (slightly longer) 'preview version' of the film,(not greatly different from the 'finished article' but still of interest). Tennis star Guy (Farley Granger) hates his unfaithful wife. Waiting for the blu ray to comes out, but this Dvd is truly excellent. "[23], Burks considered his fourteen years with Hitchcock the best of his career: "You never have any trouble with him as long as you know your job and do it. Then a grip put a normal-sized phone on the table, where she picked it up. He would the DVD, 12 minutes and 16 seconds into the running time `` [ 17 this! 'S relationship with Bruno and what he stands for # stalker # alfred Hitchcock strangers. Choose a different seller 's resemblance to Miriam nice overview with Peter Bogdanovich and several others.. 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