Summaries A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder. 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. That evening, Bruno follows Miriam to an amusement park and strangles her while Guy is on the train to Washington. be accused of a crime he did not commit. [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. out. He's endearing and menacing, intimate and unknowable. Then a police car pulls up
is this sense of two flawed characters -- one evil, one weak, with an unstated
16793 GIFs. Bruno's
To think she may have
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. [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. "[60] Leslie Halliwell felt that Hitchcock was "at his best" and that the film "makes superior suspense entertainment," but called the story "unsatisfactory. She's behind Miriam in the early
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. Disc1 contains the movie in a good looking & sounding print with optional subtitles + French & Italian language versions and has a very good,entertaining commentary with various people talking about the film, book and much else, with the highlight for 'Hitchophiles' being interview segments of director & Hitchcock biographer Peter Bogdanovich questioning the man himself. 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. 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. Morton (Ruth Roman), the daughter of a U.S. senator. He
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. ("he's stronger," he told Francois Truffaut), but Holden would have
This is one of Alfred Hitchcock's most complex amd multi-layered films. 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]. 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. His best performance and best casting. By month's end, they were back in California. One day, he meets a stranger named Bruno on a train going back home. [9] Granger described Hitchcock's attitude toward Roman as "disinterest" in the actress, and said he saw Hitchcock treat Edith Evanson the same way on the set of Rope (1948). As usual, Hitchcock kept his name out of the negotiations to keep the purchase price low. The director told Ormonde to forget all about the book, then told her the story of the film himself, from beginning to end. during an early meeting involving Guy and the senator's whole family; she keeps
Her suspicions aroused, Anne confronts Guy, who tells her the truth about Bruno's scheme. "[8] None was more demanding than Bruno's strangulation of Miriam, shown reflected in her eyeglass lens: "It was the kind of shot Hitchcock had been tinkering with for twenty yearsand Robert Burks captured it magnificently. There are two respectable and influential fathers, two women with eyeglasses, and two women at a party who delight in thinking up ways of committing the perfect crime. revolving ride to get to the controls. fiction when she actually writes mainstream fiction about criminals. "criss-cross" murder deal in "Strangers on a Train" indeed
Talented Mr. Ripley," made into a 1999 movie in which her criminal hero
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. DVD Features:Interactive MenusNewsreel:Hitchcock newsreel footageProduction NotesScene AccessTheatrical Trailer:Five trailers of Hitchcock movies, 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. Barbara tells Anne that Bruno was looking at her while strangling the other woman, and Anne realizes Barbara's resemblance to Miriam. Strangers on a Train marked something of a renaissance for Hitchcock, after several years of low enthusiasm for his late-1940s output,[25] and he threw himself into the micromanagement of some of its production. 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. flirtatious and seductive, sitting too close during their first meeting, and
chance again.) only the whites of his eyes showing. strangers on a train. This audiobook version of the classic Hitchcock film is an excellent hour of suspense, tension - and murder! There are several differences in the British version of the film, including: One would have expected Hitchcock's return to major studio filmmaking to err on the side of chastened caution. "Hitchcock told me that this scene was the most personally frightening moment for him in any of his films", writes biographer Charlotte Chandler. Bruno proposes, "I'll kill yours, you kill mine." 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: Includes initial monthly payment and selected options. Full content visible, double tap to read brief content. The aestheticizing of the horror somehow enables the audience to contemplate more fully its reality. "Holden would have been all wrongtoo sturdy, too put off by Bruno", writes critic Roger Ebert. Buy it! So much occurs in pairs. Haines, a famous tennis player, is recognized on a train by Bruno Anthony,
One gets the feeling of a closeted homosexual constantly coming onto Guy. "[50], Bruno tells Guy early on that he admires him: "I certainly admire people who do things", he says. "You're a free man now", he says, just as a police car drives up, looking for the husband of a certain recent murder victim. For his part, Bruno, a rich and spoiled ne'er-do-well, chats amiably about his deep hatred of his father, and how he wishes someone would kill the old man. Add on for my new cinema room setup. See production, box office & company info. Guy creeps into Bruno's father's room to warn him of his son's murderous intentions, but instead finds Bruno there waiting for him. ${cardName} not available for the seller you chose. "[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. temporarily dominant. Now look at how Alfred Hitchcock reinforces the duality of human nature. "[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. Hitchcock's trademark cameo) but you can look for yourself, in chapter six of
To add the following enhancements to your purchase, choose a different seller. Two strangers will "exchange murders," each killing the person the other
It
Bruno does murder Guy's wife, and then demands that Guy keep his half of the
# travel # wine # glass of wine # modern love # train travel. is softer and more elusive, more convincing as he tries to slip out of Bruno's
Hitchcock had written exacting specifications for an amusement park, which was constructed on the ranch of director Rowland Lee in Chatsworth, California. Psychotic mother's boy Bruno Anthony meets famous tennis professional Guy Haines on a train. 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. Granger
And since it is Guy's foot that taps Bruno's under the table, we know Bruno has not engineered the meeting. [21], Carringer has argued that the film was crucially shaped by the Congressional inquiries, making Guy the stand-in for victims of the homophobic climate. His vigorous tennis match is a highlight of Strangers on a Train. face, and Guy stands to his right, outside the gate. famous sequences in "Strangers on a Train." Perhaps Bruno thought it would sound more important if he said he'd dropped a case rather than a mere lighter. No Highsmith cameo
in his childhood, when his father sent naughty little Alfred to the police
where Guy scans the crowd at a tennis match and observes that all of the heads
The original version (Side A) is an all-time thriller classic. Closed-captioned, NTSC, Full Screen, Black & White. pickup than a chance encounter. [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. 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. "[59], Conversely, Bosley Crowther of The New York Times criticized the film: "Mr. Hitchcock again is tossing a crazy murder story in the air and trying to con us into thinking that it will stand up without support. "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. sexual tension -- that makes the movie intriguing and halfway plausible, and
was above all the master of great visual set pieces, and there are several
scene in the record store, writing something in a notebook. [14] Talks with Dashiell Hammett got further,[12] but here too communications ultimately broke down, and Hammett never took the assignment. 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. [56] In the book, Bruno dies in a boating accident[56] far removed from a merry-go-round. Bruno is standing behind an iron gate, the bars casting symbolic shadows on his
Highly recommended. 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. His obsession with being wrongly accused no doubt refers to a traumatic episode
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? [13] With treatment in hand, Hitchcock shopped for a screenwriter; he wanted a "name" writer to lend some prestige to the screenplay, but was turned down by eight writers, including John Steinbeck and Thornton Wilder, all of whom thought the story too tawdry and were put off by Highsmith's first-timer status. Bruno's, which is looking straight ahead at Guy. Here you will find unforgettable moments, scenes and lines from all your favorite films. 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. Guy tries to persuade Bruno to seek psychiatric help, but Bruno threatens to punish Guy for breaking their deal. Leopold-Loeb case; it was another story about a murder pact with a homosexual
party when he sees Barbara, flashes back to the murder, and flips out. his best films, including "Strangers on a Train" (1951), in which a
Strangers on a Train (1951) Full Cast & Crew See agents for this cast & crew on IMDbPro Directed by Alfred Hitchcock Writing Credits Cast (in credits order) verified as complete Produced by Alfred Hitchcock . Hitchcock said that correct casting saved him "a reel of storytelling time", since audiences would sense qualities in the actors that did not have to be spelled out. "[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. 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. The film's climax, which takes place on a carousel, is one of the most complex scenes ever shot by the director. 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. Tennis star Guy (Farley Granger) hates his unfaithful wife. Please help this article by looking for better, more reliable sources. Once Bruno Antony acts on 'removing' Guy's wife, the movie ytakes off. 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 climactic carousel explosion was a marvel of miniatures and background projection, acting close-ups and other inserts, all of it seamlessly matched and blended under film editor William H. Ziegler's eye. # travel # kit harington # modern love # big day # train travel. 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. [12][15] Chandler took the job despite his opinion that it was "a silly little story. [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]. [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. Please use a different way to share. [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. [44] Hitchcock made personal appearances in most of them, and was often accompanied by his daughter. As Bruno dies, his fingers unclench to reveal Guy's lighter in his hand. Strangers on a Train: A Hitchcock Classic (SD; 36:44) is a nice overview with Peter Bogdanovich and several others discussing . Walker's role has extreme color, and he projects it deftly. [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. The film initially received mixed reviews but has since been regarded much more favorably. 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. "Strangers
Bruno wants to kill his father, but knows he will be caught because he has a motive. --Jeff Shannon, Better still, the two-sided DVD edition of this enduring classic includes both the original version of the film and also the longer prerelease British print, which offers a more overt depiction of Bruno's flamboyant and dangerous personality, and his homoerotic attraction to Guy by way of his deviously indecent proposal. "[4] Blurring the lines puts both Guy and Bruno on a good-evil continuum, and the infinite shades of gray in between, became Hitchcock's canvas for telling the story and painting his characters. "Hitchcock raced ahead of everyone: the script, the cast, the studio pieces of the film were dancing like electrical charges in his brain. Fast, exciting, and woven with wicked style, this is one of Hitchcock's most efficient and ruthlessly delicious thrillers. Strangers On a Train 14+ HD CC Thriller 1 Hour 40 Minutes 1951 4.1 43 Ratings Strange thing about this trip. 2003 biography says she often fell in love with straight women, and her stories
I n the latest Oscar Isaac vehicle, Mojave, director William Monaghan recycles the familiar tale of one man's seemingly chance encounter with a menacing stranger - a trope that was perfected more than six decades ago by Alfred Hitchcock in his 1951 masterpiece Strangers on a Train. place from Highsmith, whose novels have been unfairly shelved with crime
It's worth noticing that
[18], There was not much time though less than three weeks until location shooting was scheduled to start in the East. 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. # travel # amazing # kit harington # you are amazing # youre amazing. Senator Morton: Dreadful. 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. Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. "[61], In contrast, modern reviews have been overwhelmingly positive. To the man committed to a career in politics, Bruno represents a tempting overthrow of all responsibility. "[22] Robert Burks received the film's sole Academy Award nomination for its black and white photography.[23]. [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. Of human nature, in contrast, modern reviews have been all wrongtoo,... They were back in California as usual, Hitchcock kept his name out of Chicago. Menacing, intimate and unknowable Bruno wants to kill his father, but knows he will caught! 'S boy Bruno Anthony meets famous tennis professional Guy Haines on a train. nice overview Peter! Dropped a case rather than a mere lighter the climax of Edmund 's... Award nomination for its Black and White photography. [ 23 ] and seductive, sitting too close during first... 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