strangers on a train

― Tom Nolan, The Los Angeles Times "Strangers on a Train is filled with paranoia and anxiety, and through its twists and turns, we, like poor Guy Haines, are also drawn into psychopath Bruno's web." Realizing that Guy is not the murderer, the police ask him to come to the station the next day to tie up any loose ends. 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. Guy is the archetypal American, the working-class boy made good, moving in influential circles, athletic, successful, handsome. With Farley Granger, Robert Walker, Ruth Roman, Leo G. Carroll. "[21] Robert Burks received the film's sole Academy Award nomination for its black and white photography.[23]. Raymond Chandler fue uno de los escritores involucrados en la primera parte del guion Was this review helpful to you? UNION STATION, WASHINGTON, D.C. DAY LONG SHOT THE CAPITOL DOME IN THE B.G. 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. The psychopath suggests that because they each want to "get rid" of someone, they should "exchange" murders, and that way neither will be caught. "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. Once again, I was led to certain expectations about this book - with mixed results. Next shot. "[16] This would be their last collaboration. He is seen carrying a double bass as he climbs onto a train. These disturbing sounds, heard to superb effect in cues such as 'The Meeting,' 'Senator's Office,' and 'Jefferson Memorial,' are not just about Bruno, but about how he is perceived by those whose lives he crosses—first Guy, then everyone in Guy's entourage."[37]. [20], Carringer has argued that the film was crucially shaped by the Congressional inquiries, making Guy the stand-in for victims of the homophobic climate. Hitchcock and his cast and crew decamped for the East Coast on October 17, 1950. "[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. Guy is suspended between tennis and politics, between his tramp wife and his senator's daughter, and Bruno is seeking desperately to establish an identity through violent, outré actions and flamboyance (shoes, lobster-patterned tie, name proclaimed to the world on his tiepin). Bruno mentions Guy's missing cigarette lighter to Anne and claims that Guy asked him to search the murder site for it. The police question Guy, but are unable to confirm his alibi: a professor Guy met on the train was so drunk that he cannot remember their encounter. A young girl, overjoyed when her favorite uncle comes to visit the family, slowly begins to suspect that he is in fact the "Merry Widow" killer sought by the authorities. Strangers On A Train Symbols & Motifs. 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. This triggers a flashback and other guests intervene to stop Bruno from strangling the woman to death. A priest, who comes under suspicion for murder, cannot clear his name without breaking the seal of the confessional. Together the three women, working under the boss's guidance and late into most nights,[16] finished enough of the script in time to send the company east. 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. 33 quotes from Strangers on a Train: ‘I know you have it in you, Guy, Anne said suddenly at the end of a silence, the capacity to be terribly happy.’ "[35], The final scene of the so-called American version of the film has Barbara and Anne Morton waiting for Guy to call on the telephone. 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 murders with each other. Alfred Hitchcock's cameo appearance occurs 11 minutes into the film. Variety praised it, writing: "Performance-wise, the cast comes through strongly. Hitchcock had written exacting specifications for an amusement park, which was constructed on the ranch of director Rowland Lee in Chatsworth, California. Young Louis Lettieri,[3] a child actor during the 1950s, plays a little boy who has his balloon maliciously popped by Bruno in the amusement park murder scene. The conductor comes by and tells Sue Ellen that they still have an available snack car. There are two sets of two detectives in two cities, two little boys at the two trips to the fairground, two old men at the carousel, two boyfriends accompanying the woman about to be murdered, and two Hitchcocks in the film. There can be no compromise in his work, his food or his wines. A psychiatrist protects the identity of an amnesia patient accused of murder while attempting to recover his memory. 27 talking about this. Surely few expected his most riotous, unrestrained film, a gleeful melange of vicious black comedy, exciting suspense, mocking manipulation, and astonishing flights of fancy. After her daydream, Sue Ellen and her mom walk outside and Sue Ellen looks at the train and gasps in surprise. The film holds a 98% rating on Rotten Tomatoes, and Roger Ebert has called Strangers on a Train a "first-rate thriller" that he considers one of Hitchcock's five best films. He has nothing but contempt for her and cannot wait to begin a new life with more sophisticated and loving Anne. The first encounter between Bruno and Guy on the train is longer, and features a more obvious homoerotic flirtation by Bruno; In the scene where Guy sneaks out of his apartment to go to Bruno's house, a shot of him opening a drawer to get the map Bruno sketched is added; The very last scene in the US version, which involves a clergyman, was deleted. "[13] In the book, Bruno dies in a boating accident[56] far removed from a merry-go-round. 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. Bruno schlägt ihm ei… When Bruno arrives at the amusement park, a carnival worker recognizes him from the night of the murder; he informs the police, who mistakenly think he means Guy. Get a sneak peek of the new version of this page. "[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. "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. But whenever Bruno intrudes, the atmosphere becomes carnivalesque, bizarre, much more fun. But perhaps the most memorable music in Strangers is the calliope music,[22] heard first at the fairground and again, later, when Bruno is strangling Mrs. Cunningham at Senator Morton's soirée, and experiences his unfortunate flashback and subsequent fainting spell. 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"[21] in the scene where Bruno inadvertently drops Guy's lighter down the storm drain. There is a hilariously painful sequence where Bruno loses the lighter with which he intends to frame Guy down a drain. Strangers On A Train Hitchcock's another perfect plan for a perfect crime is wisely not a gut wrenching bloodbath but a poised and reserved act of trauma. 187 of 253 people found this review helpful. If Bruno's final words condemn him to hell (according to the Catholic precepts Hitch is supposed to embody: compare with a similar ending in THE KILLERS), we applaud his integrity, infinitely preferable to Guy's debased serving of self. It all leads the police to believe Guy is responsible for the murder, forcing him to deal with Bruno's mad ravings. "[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. In Metcalf, their hometown ways, they are opposites complete the bargain strangers each agree kill! Silly little story by the other person wants gone ’ s first published work, written while... 44 ] Hitchcock made personal appearances in most of them, and a charming.. A psychopath forces a tennis Star to comply with his half of the negotiations to keep the purchase low. 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