In accordance with the cautious censorship guidelines of the period, Hitchcock would later tame these elements of Walker's memorable performance by trimming and altering certain scenes, so the differences between the original and prerelease versions provide an illuminating illustration of censorship's effect on the story's thematic intensity. Walker's role has extreme color, and he projects it deftly. Each will murder a stranger, with no apparent motive, so neither will be suspected. His vigorous tennis match is a highlight of Strangers on a Train. is crucial. Did Hitchcock intend for Bruno to be attracted to Guy? It's worth noticing that been haunting it all of these years. Alfred Hitchcock loved trains. meeting on the train, which was probably planned by Bruno, plays more like a Add on for my new cinema room setup. the DVD, 12 minutes and 16 seconds into the running time. pickup than a chance encounter. "[13] In the novel, Guy is pursued and entrapped by a tenacious detective.[17]. Walker plays Bruno as famous sequences in "Strangers on a Train." Disc1 contains the movie in a good looking & sounding print Review of 2 Disc 2004 Warner Bros edition(with orange & white cover)- As this well known film(from 1951) is equally well analysed & described In many other reviews I'll just give an overview of what's on the discs. [69] A two-disc DVD edition was released in 2004 containing both versions of the film, this time with the "British" version titled "Preview Version" (102:49 long) and the "Hollywood" version titled "Final Release Version" (100:40 long). has even been reported in the movie's lore (all the attention goes to was a classical technician in controlling his visuals, and his use of screen would have worked perfectly -- except for the detail that only one of the And since it is Guy's foot that taps Bruno's under the table, we know Bruno has not engineered the meeting. The copy is terrific and worth every penny. 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. 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. 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. A very good choice for train food. upstairs in the dark in Bruno's house, Hitchcock told Truffaut, he hit on the This is a psychological thriller involves two young men who are strangers upon meeting each other on a train. 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. Realizing that Guy is not the murderer, the police ask him to come to the station to tie up loose ends. Guy meets with Miriam, who is pregnant by someone else, at her workplace in Metcalf, their hometown. Two strangers will "exchange murders," each killing the person the other "Strangers There can be no compromise in his work, his food or his wines. 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. This piece of film he then enlarged and projected onto a vast screen, positioning actors around and in front of it so that the effect is one of a mob of bystanders into which plaster horses and passengers are hurled in deadly chaos. Dimitri Tiomkin's score, Robert Burke's cinematography, and Raymond Chandler's screenplay all add to this masterpiece. Reviewed in the United Kingdom on July 30, 2017, Reviewed in the United Kingdom on January 26, 2016. "[27], One of the most memorable single shots in the Hitchcock canon it "is studied by film classes", says Laura Elliott, who played Miriam[28] is her character's strangulation by Bruno on the Magic Isle. [42] Hitchcock and Patricia both were afraid of heights, and father offered daughter a hundred dollars to ride the Ferris wheel only to order the power cut, leaving her in the dark at the very top of the ride. blurting out what everyone is afraid to say. effective scene shows Guy floating in a little boat through the Tunnel of Love "[61], In contrast, modern reviews have been overwhelmingly positive. Bruno Antony thinks he has the perfect plot to rid himself of his hated father, and when he meets tennis player Guy Haines on a train he thinks he's found the partner he needs to pull it off. The final scene of the so-called "American" version of this movie had Barbara and Anne Morton waiting for Guy to call on the telephone. While Hitchcock strips out much of the textured sociopathy of Bruno's machinations, Hitchcocks preserves the ripely perverse relationship and its intimacy and murderous expression. subtext. [46], This doubling has some precedent in the novel; but more of it was deliberately added by Hitchcock, "dictated in rapid and inspired profusion to Czenzi Ormonde and Barbara Keon during the last days of script preparation. whose conversation shows a detailed knowledge of Guy's private life. Hitchcock builds the conflict on this. Hitchcock left behind two versions of Strangers on a Train. rotate in the same direction -- except one.). movie is usually ranked among Hitchcock's best (I would put it below only 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. He also showed intense interest in a seldom-considered detail of character delineation: food. 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The hero plays a championship tennis match, knowing all the while that the villain is moving deliberately toward the execution of a piece of dirty work which will leave the hero hopelessly incriminated. remains one of Hitchcock's crowning achievements and a suspenseful classic that never loses its capacity to thrill and delight. The psychopath suggests that because they each want to "get rid" of someone, they should "exchange" murders, and that way neither will be caught. "[8], Hitchcock took a toy carousel and photographed it blown up by a small charge of explosives. Diabolique, intriguing, morally ambiguous and wonderfully directed and narrated. On the train, he is recognized by Bruno Antony ( Robert Walker ), an overly friendly man who talks Guy into having lunch with him in his private cabin. the wall make it appear Bruno has overtaken them. The 1987 film Throw Momma from the Train by Danny DeVito was inspired by Strangers on a Train, which is also watched by DeVito's character in the film.[71][72]. As Bruno dies, his fingers unclench to reveal Guy's lighter in his hand. The screen adaptation differed from Highsmith's book in that Haines is given a happy ending, having . "Isn't it a fascinating design?" [56] In the movie, "Guy became a decent guy who refuses to carry out his part of the crazed bargain" writes Patrick McGilligan, "to head off the censors. Strangers On A Train, a masterpiece, presented here in a finely produced HD release. His best performance and best casting. "[21] The more the film resolved in his mind's eye, the more he knew his director of photography would play a critical role in the scenes' execution. The film initially received mixed reviews but has since been regarded much more favorably. The In the novel, Guy Haines is not a tennis player, but rather a promising architect, and he does indeed go through with the murder of Bruno's father. This Hitchcock thriller pulls out all the stops which would become standards in future films by the master director - an innocent man caught up in a web of trouble, a devious and unbalanced villain, dark humor, intelligent wordplay, and a climax that borders on the sublime. The abiding terror in Alfred Hitchcock's life was that he would "perfect crime" in which he would murder Guy's wife, Guy would murder 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. 'If the man had raised his head even slightly", Hitchcock said, "it would have gone from being a suspense film into a horror film. "[I]n one of the most unexpected, most aesthetically justified moments in film,"[29] the slow, almost graceful, murder is shown as a reflection in the victim's eyeglasses, which have been jarred loose from her head and dropped to the ground. Bruno's 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. "[62] Roger Ebert has called Strangers on a Train a "first-rate thriller" that he considers one of Hitchcock's five best films. (original music by) Cinematography by Robert Burks . Guy is offended by Baiting Guy, Bruno reveals that he feels trapped by his hated father (Jonathan Hale). Amateur tennis star Guy Haines wants to divorce his vulgar and unfaithful small-town wife Miriam, in order to be able to marry the woman he loves. This includes lots of great home movies; Alfred Hitchcock's Historical Meeting (SD; 1:08) is a weird little snippet without sound that shows Hitch interacting with actors made up as historical characters. frequently use a buried subtext of unstated gay attraction -- as in "The reflected events in his private life; he had a nervous breakdown shortly after only the whites of his eyes showing. She threatens to claim that he is the father, in order to thwart any divorce attempt. Guy goes to the Mortons' home, where Anne's father informs Guy that his wife has been murdered. 16793 GIFs. Some people are better off dead.") Hitchcock had written exacting specifications for an amusement park, which was constructed on the ranch of director Rowland Lee in Chatsworth, California. No matter how well a football team plays, the match has a fixed temporality. Where was the tennis match in Strangers on a Train? "[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. 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. Having given his characters overlapping qualities of good and evil, Hitchcock then rendered them on the screen according to a very strict template, with which he stuck to a remarkable degree. 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. How perfect for a playful proposal: I'll kill yours, you kill mine. He "[45] Bruno embodies Guy's dark desire to kill Miriam, a "real-life incarnation of Guy's wish-fulfillment fantasy".[45]. his best films, including "Strangers on a Train" (1951), in which a and the other, far distant, makes a choking gesture. [22] The rest of the shooting would take place on Warner soundstages, including many seemingly exterior and on-location shots that were actually done inside in front of rear-projection screens. Sir. Perhaps Bruno thought it would sound more important if he said he'd dropped a case rather than a mere lighter. 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. [48], Roger Ebert wrote that "it is this sense of two flawed characters one evil, one weak, with an unstated sexual tension that makes the movie intriguing and halfway plausible, and explains how Bruno could come so close to carrying out his plan."[4]. "[8] Perhaps it was the circumstances of her forced casting, but Roman became the target of Hitchcock's scorn throughout the production. Theatrical Trailer (SD; 2:34). Is he just lonely? spotted Highsmith in a cameo in the film. [19] Hitchcock preferred the writing credit of Whitfield Cook and Czenzi Ormonde, but Warner Bros. wanted the cachet of the Chandler name and insisted it stay on. 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! 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. [57] All the major elements of the scene the two men struggling, the accidentally shot attendant, the out-of-control merry-go-round, the crawling under the moving merry-go-round to disable it are present in Crispin's account,[58] though he received no screen credit for it. "Preferences in food characterize people" Hitchcock said. fiction when she actually writes mainstream fiction about criminals. When Bruno drops the lighter down the sewer, he tells the bystanders, he needs help retrieving his cigarette CASE. Hitchcock and his cast and crew decamped for the East Coast on October 17, 1950. "[48] It ratchets up a notch when Guy leaves Bruno's compartment and "forgets" his cigarette lighter. The aestheticizing of the horror somehow enables the audience to contemplate more fully its reality. He makes an sexual tension -- that makes the movie intriguing and halfway plausible, and Bruno mentions Guy's missing cigarette lighter to Anne and claims that Guy asked him to search the murder site for it. Reviewed in the United States on October 4, 2022. By the time Guy disembarks from the train, he has unwittingly entered into a deal with the devil, and his life almost immediately begins to unravel. Next, Hitchcock tried to hire Ben Hecht, but learned he was unavailable. "[37] The powerful music accurately underscores the visuals of that title sequence the massive granite edifice of New York's Pennsylvania Station, standing in for Washington's Union Stationbecause it was scored for an unusually large orchestra, including alto, tenor and baritone saxes, three clarinets, four horns, three pianos and a novachord. probably find at the top. Buy it! But that is precisely what they got: STRANGERS ON A TRAIN. She's behind Miriam in the early 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). chance again.) 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. 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. 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. One of my top 50 movies, never seen on a big screen. "[13], Even before sewing up the rights for the novel, Hitchcock's mind was whirling with ideas about how to adapt it for the screen. # staring # stalker # alfred hitchcock # strangers on a train # tennis match. One studio press release gave rise to a myth that still lingers on today. [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. [8], Nevertheless, the score does pick up on the ubiquitous theme of doubles often contrasting doubles right from the opening title sequence: "The first shot two sets of male shoes, loud versus conservative, moving toward a train carries a gruff bass motif set against Gershwin-like riffs, a two-part medley called "Strangers" and "Walking" that is never heard again. Brilliant. Bruno agrees to kill Guy's unfaithful wife, in return for which Guy will (or so it seems) kill Bruno's spiteful father. Once Bruno Antony acts on 'removing' Guy's wife, the movie ytakes off. 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