calculation, and usually got away with their crimes. Bruno is rather a child. One gets the feeling of a closeted homosexual constantly coming onto Guy. # travel # kit harington # modern love # big day # train travel. Hitchcock's biggest changes were in his two lead characters: The character called Bruno Antony in the film is called Charles Anthony Bruno in the book. Great transfer, great black and white contrast. 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. The
This is a psychological thriller involves two young men who are strangers upon meeting each other on a train. was a classical technician in controlling his visuals, and his use of screen
Burks was an exceptionally apt choice for what would prove to be Hitchcock's most Germanic film in years: the compositions dense, the lighting almost surreal, the optical effects demanding. [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. brainy criminals who functioned not out of passion but from careful
chance again.) Yet as Bruno describes his "theories" over lunch, "Guy responds to Bruno we see it in his face, at once amused and tense. [33], The explosion is triggered by the attempts of a carnival man to stop the ride after crawling under the whirling carousel deck to get to the controls in the center. [14] Talks with Dashiell Hammett got further,[12] but here too communications ultimately broke down, and Hammett never took the assignment. Critic Jack Sullivan had kinder words for Tiomkin's score for Strangers than did biographer Spoto: "[S]o seamlessly and inevitably does it fit the picture's design that it seems like an element of Hitchcock's storyboards", he writes. When Bruno arrives at the amusement park, a carnival worker recognizes him from the night of the murder; he informs the police, who think he has recognized Guy. [28] Anne reaches for the big phone, but actually answers a regular one: "I did that on one take", Hitchcock explained, "by moving in on Anne so that the big phone went out of the frame as she reached for it. 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. The aestheticizing of the horror somehow enables the audience to contemplate more fully its reality. 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 everyday life and ordinary men.CREDITS:TM \u0026 Warner Bros. (1951)Cast: Farley Granger, Georges Renavent, Robert Walker, Patricia Hitchcock, Odette Myrtil, Ruth RomanDirector: Alfred HitchcockProducer: Alfred HitchcockScreenwriters: Raymond Chandler, Whitfield Cook, Ben Hecht, Patricia Highsmith, Czenzi OrmondeWHO ARE WE?The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. The only sadistic part was I never got the hundred dollars."[43]. movie is usually ranked among Hitchcock's best (I would put it below only
The film's climax, which takes place on a carousel, is one of the most complex scenes ever shot by the director. blurting out what everyone is afraid to say. "[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. [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. [13] Treatment writer Cook used Guy to make the film "a parable quietly defiant of the Cold War hysteria sweeping America. Hitchcock also cast Granger in "Rope" (1948), based on the
So much occurs in pairs. [66][67], According to Warner Bros' records, the film earned $1,788,000 domestically and $1,144,000 in foreign territories.[1]. "[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. 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. Rogers was effectively blind with the glasses on and needed to be guided by the other actors. Baiting Guy, Bruno reveals that he feels trapped by his hated father (Jonathan Hale). said that correct casting saved him a reel in storytelling time, since
then reclining at full length across from Guy in the private compartment. "[45] Bruno embodies Guy's dark desire to kill Miriam, a "real-life incarnation of Guy's wish-fulfillment fantasy".[45]. This is one of Alfred Hitchcock's most complex amd multi-layered films. Surely few expected his most riotous, unrestrained film, a gleeful melange of vicious black comedy, exciting suspense, mocking manipulation, and astonishing flights of fancy. She initially praised it, writing: "I am pleased in general. This triggers a flashback; Bruno compulsively squeezes the woman's neck, and other guests intervene to stop him from strangling her to death. Unreliable citations may be challenged or deleted. The screen adaptation differed from Highsmith's book in that Haines is given a happy ending, having . Strangers on a Train: A Hitchcock Classic (SD; 36:44) is a nice overview with Peter Bogdanovich and several others discussing . His obsession with being wrongly accused no doubt refers to a traumatic episode
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. subtext. "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. To the man committed to a career in politics, Bruno represents a tempting overthrow of all responsibility. This ending, however, was not acceptable to Warner Bros.[28], In 1997, Warner released the film onto DVD as a double sided disc, with the "British" version on one side, and the "Hollywood" version on the reverse. But, for all that, his basic premise of fear fired by menace is so thin and so utterly unconvincing that the story just does not stand. The director told Ormonde to forget all about the book, then told her the story of the film himself, from beginning to end. there would be no possible connection between killer and victim. in his childhood, when his father sent naughty little Alfred to the police
"[48] And at this point the blurring of good and evil accelerates: Guy fails to repudiate Bruno's suggestive statement about murdering Miriam ("What's a life or two, Guy? Bruno dreams up a crazy scheme whereby he and Guy exchange murders. Together the three women, working under the boss's guidance and late into most nights,[17] finished enough of the script in time to send the company East. Full content visible, double tap to read brief content. [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. his identity and lifestyle. There can be no compromise in his work, his food or his wines. "[13] In the novel, Guy is pursued and entrapped by a tenacious detective.[17]. Chandler completed a first draft, then wrote a second, without hearing a single word back from Hitchcock; when finally he did get a communication from the director in late September, it was his dismissal from the project.[17]. Hitchcock's trademark cameo) but you can look for yourself, in chapter six of
As a plot, this has a neatness that Hitchcock must have found
Georgetown house when Bruno whispers from across the street to summon him. A film of noir moments galore. Strangers on a Train ( 1951) 100-101 mins | Drama | 30 June 1951 Cast: Farley Granger, Ruth Roman, Robert Walker [ More ] Director: Alfred Hitchcock Writers: Raymond Chandler, Czenzi Ormonde, Whitfield Cook Producer: Alfred Hitchcock Cinematographer: Robert Burks Editor: William Ziegler Production Designer: Edward S. Haworth Production Company: A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder. 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. "[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 copy is terrific and worth every penny. In Hitchcock's cameo he carries a double bass. 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. There's
"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. The psychopath suggests that because they each want to "get rid" of someone, they should "exchange" murders, and that way neither will be caught. 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. He also showed intense interest in a seldom-considered detail of character delineation: food. ("he's stronger," he told Francois Truffaut), but Holden would have
"[55], Although its first rumblings came in 1947 with the trial and conviction of the "Hollywood Ten," the so-called Red Scare was gathering steam in 1950, with the espionage-related arrests of Julius and Ethel Rosenberg and the trial of Alger Hiss. Strangers On A Train, a masterpiece, presented here in a finely produced HD release. Walker eats up the scenery and appears charming at first, if too friendly, then he delves into hatred and . "[44], The film includes a number of puns and visual metaphors that demonstrate a running motif of crisscross, double-crossing, and crossing one's double. [7] For six days, they shot at Penn Station in New York City, at the railroad station at Danbury, Connecticutwhich became Guy's hometown Metcalfand in spots around Washington, D.C.[7]. "[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. 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. The film was later made available on Blu-ray in 2012 with the same contents as the 2004 DVD edition. Screenshots. Ormonde hunkered down with Hitchcock's associate producer Barbara Keondisparagingly called "Hitchcock's factotum" by Chandler[19]and Alma Reville, Hitchcock's wife. audiences would sense qualities in the actors that didn't need to be spelled
villains, and Hitch agreed with Truffaut that the audience sympathy was more
been haunting it all of these years. they're now both behind bars as he says, "You've got me acting like I'm a
After appearances in his 2 best British films, "The 39 Steps" (1935) and "The Lady Vanishes" (1938) , the train was elevated to star billing along with the 2 male leads in "Strangers on a Train" (1951).Not only does the train move its Alfred Hitchcock loved trains. 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. "He had to have one person in each film he could harass," Granger said. 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. But
"Preferences in food characterize people" Hitchcock said. Anne's sister Barbara says that the police will think that Guy is the murderer since he has a motive. Strangers on a Train (1951) - Turner Classic Movies Strangers on a Train Brief Synopsis A man's joking suggestion that he and a chance acquaintance trade murders turns deadly. the Master of Suspense often asked. Robert Walker is uncanny. 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. spotted Highsmith in a cameo in the film. 'If the man had raised his head even slightly", Hitchcock said, "it would have gone from being a suspense film into a horror film. 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. Anne. Patricia Hitchcock and Kasey Rogers look a little alike and wear very
[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). Another great shot shows Bruno's face in the shadow of his hat brim,
The pair has what writer Peter Dellolio refers to as a "dark symbiosis. excellent suspect because of the genius of the actual killer's original plan:
Some people are better off dead.") whose conversation shows a detailed knowledge of Guy's private life. his best films, including "Strangers on a Train" (1951), in which a
thriller with odd little kinks now and then. Beyond all the historical footnotes and film-buff fascination. By month's end, they were back in California. 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 . Unfortunately, that was about it. always used the convention that the left side of the screen is for evil and/or
Guy takes this as a joke, but Bruno is serious and takes things into his own hands. strangers on a train. Mysterious Bruno (Robert Walker) hates his father. "[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. Waiting for the blu ray to comes out, but this Dvd is truly excellent. Especially with Bruno, who held the movie together as he did the book." When Bruno drops the lighter down the sewer, he tells the bystanders, he needs help retrieving his cigarette CASE. "The man who crawled under the out-of-control carousel was not an actor or a stuntman, but a carousel operator who volunteered for the job. Farley Granger, Roman, Ruth, Alfred Hitchcock, Hitchcock, Patricia, Leo G. Carroll, Lorne, Marion, Walker, Robert. at a carnival; Miriam and two boyfriends are in the boat ahead, and shadows on
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