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. Strangers On A Train is about two men, Guy Haines and Bruno Anthony, who meet on a train by accidentally knocking shoes. Please help this article by looking for better, more reliable sources. He makes an Bruno proposes, "I'll kill yours, you kill mine." 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. Ordinary Washington locations become sinister hunting grounds that mirror perfectly the creeping terror that slowly consumes Guy, as the lethally smooth Bruno relentlessly pursues him to a frenzied climax. "seductiveness" in the American print. Hitchcock had a crew shoot background footage of the 1950 Davis Cup finals held August 2527, 1950 at the West Side Tennis Club in Forest Hills, New York. "[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. Unreliable citations may be challenged or deleted. "Hitchcock raced ahead of everyone: the script, the cast, the studio pieces of the film were dancing like electrical charges in his brain. DVD Features: . Reviewed in the United States on October 15, 2007. "I have always given it careful consideration, so that my characters never eat out of character. [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. Hitchcock had written exacting specifications for an amusement park, which was constructed on the ranch of director Rowland Lee in Chatsworth, California. Alfred Hitchcock loved trains. 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. Variety praised it, writing: "Performance-wise, the cast comes through strongly. No matter how well a football team plays, the match has a fixed temporality. [56] In the book, Bruno dies in a boating accident[56] far removed from a merry-go-round. Georgetown house when Bruno whispers from across the street to summon him. accidental overdose of tranquilizers. [12], Hitchcock then tried Raymond Chandler, who had earned an Oscar nomination for his first screenplay, Double Indemnity, in collaboration with Billy Wilder. The only sadistic part was I never got the hundred dollars."[43]. [4] "Granger is softer and more elusive, more convincing as he tries to slip out of Bruno's conversational web instead of flatly rejecting him. It looks like WhatsApp is not installed on your phone. Actually, it's doubly fascinating. 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. Screenshots. Next, Hitchcock tried to hire Ben Hecht, but learned he was unavailable. Barbara Morton: From what I hear she pursued it in all directions. Sir. sexual tension -- that makes the movie intriguing and halfway plausible, and ${cardName} not available for the seller you chose. To think she may have Strangers on a Train(1950) is a suspense thriller by Patricia Highsmith, based on the premise that two strangers swap murders. That combination came in the first ingenious plot with insinuating creepiness. Hitchcock Behind the Story contains these featurettes: Strangers on a Train: A Hitchcock Classic (SD; 36:44) is a nice overview with Peter Bogdanovich and several others discussing the importance of the film in the Hitchcock canon; Strangers on a Train: The Victim's P.O.V. [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]. Dreadful business. Is he just lonely? upstairs in the dark in Bruno's house, Hitchcock told Truffaut, he hit on the Strangers on a Train (1951) was director Alfred Hitchcock's suspenseful, noirish black and white thriller about two train passengers: tennis pro Guy Haines (Farley Granger) and psychopathic dandy Bruno Antony (Robert Walker), who staged a battle of wits and proposed trading motiveless murders with each other. during an early meeting involving Guy and the senator's whole family; she keeps scene in the record store, writing something in a notebook. Robert Walker plays a psychopathic murderer that is an apathetic rich boy with a lust for the eccentric. said in Francois Truffaut's book-length interview that he didn't much like calculation, and usually got away with their crimes. The film itself was great, the DVD was in fine condition, and it arrived either on time or early (can't remember which). was a lesbian whose novels have uncanny psychological depth; Andrew Wilson's Robert Walker is fabulous as the twisted Bruno. Over lunch in his private Bruno follows Guy around Washington, introduces himself to Anne, and appears at a party at Senator Morton's house. Anne's sister Barbara says that the police will think that Guy is the murderer since he has a motive. Robert Walker is uncanny. And the chocolate ice cream is probably what he thought about first. "[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. "[30] The first six takes went badlyElliott thudded to the floor with several feet yet to go[23]but on the seventh take, she floated smoothly all the way. 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As with Shadow of a Doubt, Strangers on a Train is one of many Hitchcock films to explore the doppelgnger theme. Guy humors Bruno by pretending to find his idea amusing, but is so eager to get away from Bruno that he leaves behind his engraved cigarette lighter. Baiting Guy, Bruno reveals that he feels trapped by his hated father (Jonathan Hale). Although Hitchcock admitted to undercranking the shot (artificially accelerating the action),[34] it was not a trick shot: the man actually had to crawl under the spinning ride, just inches from possible injury. would have worked perfectly -- except for the detail that only one of the They would both have airtight alibis for the time of the crime, and "On one side of the street, [are] stately respectable houses; towering in the background, on the right of the screen, the floodlit dome of the U.S. Capitol, the life to which Guy aspires, the world of light and order. reflected events in his private life; he had a nervous breakdown shortly after Now look at how Alfred Hitchcock reinforces the duality of human nature. Believing that Guy is trying to escape, a police officer shoots at him, but instead kills the carousel operator, causing the carousel to spin out of control. stunt man could have been killed; Hitchcock said he would never take such a The film was later made available on Blu-ray in 2012 with the same contents as the 2004 DVD edition. "criss-cross" murder deal in "Strangers on a Train" indeed irresistible -- especially since Guy has a motive to murder his wife, was seen 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. 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. Off-handedly, he suggests to Guy that they trade murders: Bruno will kill Guy's troublesome wife, and Guy will eliminate Bruno's despised father. 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). (This shot was famously unfaked, and the Guy Haines (Granger), an amateur tennis star, chances to meet the eccentric Bruno Anthony (Walker) on a train. Guy tries to persuade Bruno to seek psychiatric help, but Bruno threatens to punish Guy for breaking their deal. be accused of a crime he did not commit. The worker who called the police tells them that Bruno, not Guy, is the one he remembers seeing the night of the murder. A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder.A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder.A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder. "[62] Roger Ebert has called Strangers on a Train a "first-rate thriller" that he considers one of Hitchcock's five best films. BARDO, False Chronicle of a Handful of Truths, 23rd Annual Black Reel Awards to Celebrate its 2023 Honorees on February 6th, 15 Films We Cant Wait to See at Sundance 2023, 14th Annual African American Film Critics Association Awards Recipients Revealed, Child of Graceland: Lisa Marie Presley (1968-2023). "[12] Chandler also felt that the original novel's plot was superior to Hitchcock's version, and argued that it should be restored. Even classic endeavors like Fargo and A Simple Plan seem directly fueled by this concept"[64], Almar Haflidason was effusive about Strangers on a Train in 2001 at the BBC website: "Hitchcock's favourite device of an ordinary man caught in an ever-tightening web of fear plunges Guy into one of the director's most fiendishly effective movies. 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. His best performance and best casting. manner is pushy and insinuating, with homoerotic undertones. Roman's role as a nice, understanding girl is a switch for her, and she makes it warmly effective. The story concerns two strangers who meet on a train, one of whom is a psychopath who suggests that they "exchange" murders so that neither will be caught. blurting out what everyone is afraid to say. The creepiness factor holds up very well. One gets the feeling of a closeted homosexual constantly coming onto Guy. Unfortunately, that was about it. Strangers on a Train: A Hitchcock Classic (SD; 36:44) is a nice overview with Peter Bogdanovich and several others discussing . He complained privately that Hitchcock was too ready to sacrifice dramatic logic (insofar as it exists) for the sake of a camera effect.[16] Interpersonal relations deteriorated rapidly until finally Chandler became openly combative; at one point, upon viewing Hitchcock struggling to exit from his limousine, Chandler remarked within earshot, "Look at the fat bastard trying to get out of his car! only the whites of his eyes showing. villains, and Hitch agreed with Truffaut that the audience sympathy was more That evening, Bruno follows Miriam to an amusement park and strangles her while Guy is on the train to Washington. "Shadow of a Doubt"), and its appeal is probably the linking of an [13] Treatment writer Cook used Guy to make the film "a parable quietly defiant of the Cold War hysteria sweeping America. Buy it! [40] It is a score that "goes largely uncelebrated."[40]. Senator Morton: She was a human being. "Isn't it a fascinating design?" The "When Bruno openly suggests he would like to kill his wife, he merely grins and says 'That's a morbid thought,' but we sense the tension that underlies it. He wanted the last line of the film to be Guy describing Bruno as "a very clever fellow". [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]. The band plays on through Bruno's stalking of his victim and during the murder itself, blaring from the front of the screen, then receding into the darkness as an eerie obbligato when the doomed Miriam enters the Tunnel of Love.[39]. [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. Each will murder a stranger, with no apparent motive, so neither will be suspected. Enhancements you chose aren't available for this seller. "[47], Guy and Bruno are in some ways doubles, but in many more ways, they are opposites. The aestheticizing of the horror somehow enables the audience to contemplate more fully its reality. On Rotten Tomatoes the film has an approval rating of 98% based on reviews from 52 critics, with an average rating of 8.80/10. [6] He added the film in his Great Movies list. ("he's stronger," he told Francois Truffaut), but Holden would have The abiding terror in Alfred Hitchcock's life was that he would That carousel scene was not faked! thriller with odd little kinks now and then. Anne visits Bruno's home and tries explaining to his befuddled mother that her son is a murderer. It was shot in the autumn of 1950 and released by Warner Bros. on June 30, 1951, starring Farley Granger, Ruth Roman, and Robert Walker. In Hitchcock's cameo he carries a double bass. [44] Hitchcock made personal appearances in most of them, and was often accompanied by his daughter. Strangers On A Train, a masterpiece, presented here in a finely produced HD release. Poor unfortunate girl. pickup than a chance encounter. But See Appendix 1, Historical Journal of Film, Radio and Television, (1995) 15:sup1, 131 p 31 DOI: 10.1080/01439689508604551, Warner Bros. press release #HO9-1251, November 30, 1950, Learn how and when to remove these template messages, introducing citations to additional sources, Learn how and when to remove this template message, Influence on Carol Burnett's Star on Hollywood Walk of Fame, "Armchair Audience: The Moving Toyshop (1946)", "The Screen In Review; 'Strangers on a Train,' Another Hitchcock Venture, Arrives at the Warner Theatre", "My Favourite Hitchcock: Strangers on a Train", "Two Men Inspired By 'Throw Momma from the Train' Fail To Get Away With Murder", "David Fincher, 'Strangers on a Train,' and the Tricky Business of Remaking Hitchcock", German Concentration Camps Factual Survey, Alfred Hitchcock: The Art of Making Movies, Alfred Hitchcock and the Making of Psycho, https://en.wikipedia.org/w/index.php?title=Strangers_on_a_Train_(film)&oldid=1134435612, Films based on works by Patricia Highsmith, Films with screenplays by Raymond Chandler, United States National Film Registry films, Articles needing additional references from June 2022, All articles needing additional references, Articles lacking reliable references from June 2022, Articles with multiple maintenance issues, Creative Commons Attribution-ShareAlike License 3.0, This page was last edited on 18 January 2023, at 17:53. 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