reflected events in his private life; he had a nervous breakdown shortly after A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder. Baiting Guy, Bruno reveals that he feels trapped by his hated father (Jonathan Hale). (SD; 7:22) focuses on Kasey Rogers, who performed under the name Laura Elliot in the film; Strangers on a Train: An Appreciation by M. Night Shyamalan (SD; 12:46) has the director espousing his love for Hitch and the film; The Hitchcocks on Hitch (SD; 11:20) features Hitch's daughter and granddaughter talking about Hitch. inspiration of a very large dog to distract the audience from what he would Tennis star Guy (Farley Granger) hates his unfaithful wife. A film of noir moments galore. [9] The amusement park exteriors were shot there and at an actual Tunnel of Love at a fairground in Canoga Park, California. [14] Talks with Dashiell Hammett got further,[12] but here too communications ultimately broke down, and Hammett never took the assignment. He narrowed the geographic scope to the Northeast corridor, between Washington, D.C. and New York the novel ranged through the southwest and Florida, among other locales. [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. 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. Although Hitchcock This fear is at the heart of many of "[43] "This was good stuff for press agents paid to stir up thrills and it has been repeated in other books to bolster the idea of Hitchcock's sadism,"[36] but "we were [only] up there two or three minutes at the outside. My father wasn't ever sadistic. [9], Kasey Rogers (credited as Laura Elliott) noted that she had perfect vision at the time the movie was made, but Hitchcock insisted she wear the character's thick eyeglasses, even in long shots when regular glass lenses would have been undetectable. 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. Screenshots. With an emphasis on narrative and visual strategy, Hitchcock controls the escalating tension with a master's flair for cinematic design, and the plot (coscripted by Raymond Chandler) is so tightly constructed that you'll be white-knuckled even after multiple viewings. The original version (Side A) is an all-time thriller classic. in his childhood, when his father sent naughty little Alfred to the police 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. Closed-captioned, NTSC, Full Screen, Black & White. I like how he displays paranoia as the killer follows him around. an intriguing note from a user of the Internet Movie Database, claiming to have said in Francois Truffaut's book-length interview that he didn't much like He told the obscure writer that the famous one hadn't written a solitary line he intended to use, and they would have to start all over on page one, using Cook's treatment as a guide. sexual tension -- that makes the movie intriguing and halfway plausible, and Have watched this movie at least twice previously but it had been many years since I last saw it. + a very good 36 min documentary on the film ,a 7 min feature with 'murder victim' Laura Elliot, an 11 min 'Hitchcock family' feature and a 12min appreciation by director/fan M.Night Shyamalan- so all in all a good package of a film that's always worth another viewing,that's currently available at a good prices. 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. He Interesting, in this context, is Hitchcock's casting of his own daughter, "[5], The two characters, Guy and Bruno, can be viewed as doppelgngers. [24] Exteriors would be shot on both coasts, and interiors on Warner Brothers' soundstages. Patricia, as the outspoken young Barbara Morton, kid sister of Guy's fiance [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]. [4] Hitchcock said that he originally wanted William Holden for the Guy Haines role,[5][6] but Holden declined. The psychological game that Bruno plays on Guy is to force him to kill Bruno's over-bearing father. [7] The director found her "bristling" and "lacking in sex appeal" and said that she had been "foisted upon him. Bruno orders with gusto and with an interest in what he is going to eat lamb chops, French fries, and chocolate ice cream. 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. Guy infers that Bruno intends to plant it at the scene of the murder and incriminate him. The psychopath suggests that because they each want to "get rid" of someone, they should "exchange" murders, and that way neither will be caught. Reviewed in the United States on November 5, 2022. On a train, wealthy smooth-talking psychopath Bruno Antony recognizes Haines and reveals his idea for a murder scheme: two strangers meet and "swap murders" Bruno suggests he kill Miriam and Guy kill Bruno's hated father. "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. 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. 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. The unusual angle was a more complex proposition than it seems. 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. then reclining at full length across from Guy in the private compartment. Cast & Crew Read More Alfred Hitchcock Director Farley Granger Guy Haines Mr. Granger appears by arrangement with Samuel Goldwyn Ruth Roman Anne Morton Robert Walker Guy tries to persuade Bruno to seek psychiatric help, but Bruno threatens to punish Guy for breaking their deal. 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. This is a five minute mise en scene analysis podcast of the tennis scene from Alfred Hitchock's "Strangers on a Train" by Connor Best and Amanda McVey. 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. Guy and Anne coldly walk away from him. Strangers on a Train Preview Version (SD; 1:42:57). 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 . And since it is Guy's foot that taps Bruno's under the table, we know Bruno has not engineered the meeting. The only sadistic part was I never got the hundred dollars."[43]. 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. 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. Strangers On a Train (1951) In Alfred Hitchcock's thriller - an adaptation from Patricia Highsmith's first novel about amoral murderers who 'traded' or 'exchanged' crimes: the opening sequence introduced the duality of the two 'strangers on a train' with their distinctive contrasting shoes: - Bruno Antony (Robert Walker), a . In 2021, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[3]. First Hitchcock got the exterior shots in Canoga Park, using both actors, then later he had Elliott alone report to a soundstage where there was a large concave reflector set on the floor. with any force or conviction. 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. It One of my top 50 movies, never seen on a big screen. been haunting it all of these years. She's behind Miriam in the early out. "[46] It undergirds the whole film because it finally serves to associate the world of light, order, and vitality with the world of darkness, chaos, lunacy and death. was above all the master of great visual set pieces, and there are several [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. Actually, it's doubly fascinating. A very good choice for train food. "Strangers Hitchcock's even-strained response: "Cut. brainy criminals who functioned not out of passion but from careful 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. Is he just lonely? "[8] Perhaps it was the circumstances of her forced casting, but Roman became the target of Hitchcock's scorn throughout the production. 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. 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. He is also something of a hedonist. [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. the references to his private life, but inexplicably doesn't break off the 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. "[13] In the novel, Guy is pursued and entrapped by a tenacious detective.[17]. It 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. 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. His best performance and best casting. "[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. Guy is offended by Granger is excellent as the harassed young man innocently involved in murder. 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. Please help this article by looking for better, more reliable sources. blurting out what everyone is afraid to say. 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. "[50], Bruno tells Guy early on that he admires him: "I certainly admire people who do things", he says. Strangers On A Train, a masterpiece, presented here in a finely produced HD release. 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. 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. [6] In 2012, The Guardian praised the film writing "Hitchcock's study of the guilt that taints the human condition is just one cinematic masterstroke after another". But Miriam does not want the divorce, and instead plans to live off Haines's money. in front of Guy's house, and he quickly moves behind the gate with Bruno; "[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. Bruno is standing behind an iron gate, the bars casting symbolic shadows on his strangers on a train. [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. revolving ride to get to the controls. # travel # kit harington # modern love # big day # train travel. 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. Includes initial monthly payment and selected options. party when he sees Barbara, flashes back to the murder, and flips out. In a scene where Guy goes excellent suspect because of the genius of the actual killer's original plan: Barbara Morton: From what I hear she pursued it in all directions. [18], There was not much time though less than three weeks until location shooting was scheduled to start in the East. No matter how well a football team plays, the match has a fixed temporality. Guy, on the other hand, shows little interest in eating the lunch, apparently having given it no advance thought, in contrast to Bruno, and he merely orders what seems his routine choice, a hamburger and coffee. Criss-cross. Unreliable citations may be challenged or deleted. He has no patience with mediocrity on the set or at a dinner table. Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. This triggers a flashback; Bruno compulsively squeezes the woman's neck, and other guests intervene to stop him from strangling her to death. [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]. frequently use a buried subtext of unstated gay attraction -- as in "The 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. Director Alfred Hitchcock Writers Raymond Chandler (screen play) Czenzi Ormonde (screen play) Whitfield Cook (adaptation) Stars Farley Granger Robert Walker Ruth Roman See production, box office & company info Watch on Prime Video According to Bruno, it's all to be read in the newspapers, especially the gossip concerning Guy's relationship with the daughter of a United States senator, and the ongoing drama with Guy's soon-to-be ex-wife, a good-time gal who's pregnant with another man's child. So much occurs in pairs. His obsession with being wrongly accused no doubt refers to a traumatic episode Walker's role has extreme color, and he projects it deftly. When he reaches his destination, Guy bids goodbye to Bruno, thinking nothing more of the affable but rather curious young man's homicidal theories. 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. 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. station with a note asking the sergeant to lock him up until called for. "[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. Guy Haines (Granger), an amateur tennis star, chances to meet the eccentric Bruno Anthony (Walker) on a train. Is 'Strangers on a Train' based on a book? 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: [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. Another [22] "Low-keyed, mild mannered", Burks was "a versatile risk-taker with a penchant for moody atmosphere. Reviewed in the United States on September 29, 2021. By month's end, they were back in California. Best known is the one 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. [9] Hitchcock had already shot the long shots for the tennis match at Forest Hills and would add closer shots with Granger and Jack Cushingham, Granger's tennis coach off-screen and Guy's tennis opponent Fred Reynolds on-screen at a tennis club in South Gate, California. 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 police assign an escort to watch him. Tennis star Guy (Farley Granger) hates his unfaithful wife. [46], Hitchcock carries the theme into his editing, crosscutting between Guy and Bruno with words and gestures: one asks the time and the other, miles away, looks at his watch; one says in anger "I could strangle her!" 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