Bruno proposes, "I'll kill yours, you kill mine." Anne visits Bruno's home and tries explaining to his befuddled mother that her son is a murderer. "[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. See Appendix 1, Historical Journal of Film, Radio and Television, (1995) 15:sup1, 131 p 31 DOI: 10.1080/01439689508604551, Warner Bros. press release #HO9-1251, November 30, 1950, Learn how and when to remove these template messages, introducing citations to additional sources, Learn how and when to remove this template message, Influence on Carol Burnett's Star on Hollywood Walk of Fame, "Armchair Audience: The Moving Toyshop (1946)", "The Screen In Review; 'Strangers on a Train,' Another Hitchcock Venture, Arrives at the Warner Theatre", "My Favourite Hitchcock: Strangers on a Train", "Two Men Inspired By 'Throw Momma from the Train' Fail To Get Away With Murder", "David Fincher, 'Strangers on a Train,' and the Tricky Business of Remaking Hitchcock", German Concentration Camps Factual Survey, Alfred Hitchcock: The Art of Making Movies, Alfred Hitchcock and the Making of Psycho, https://en.wikipedia.org/w/index.php?title=Strangers_on_a_Train_(film)&oldid=1134435612, Films based on works by Patricia Highsmith, Films with screenplays by Raymond Chandler, United States National Film Registry films, Articles needing additional references from June 2022, All articles needing additional references, Articles lacking reliable references from June 2022, Articles with multiple maintenance issues, Creative Commons Attribution-ShareAlike License 3.0, This page was last edited on 18 January 2023, at 17:53. compartment, Bruno reveals that he wants his father dead, and suggests a I suspect the things we might see so plainly now - the homosexual longing in Bruno, the wicked contrast of the man of action and the man of ideas, the superficiality of Guy and the hungry depth . used to finish his final film, "My Son John.") 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. ingenious plot with insinuating creepiness. upstairs in the dark in Bruno's house, Hitchcock told Truffaut, he hit on the Where was the tennis match in Strangers on a Train? 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. The abiding terror in Alfred Hitchcock's life was that he would 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. By month's end, they were back in California. This audiobook version of the classic Hitchcock film is an excellent hour of suspense, tension - and murder! 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. One of the most popular psychological crime thrillers that Hitchcock ever made is definitely Strangers on a Train, the master's adaptation of crime novelist Patricia Highsmith's debut novel that hit theaters back in 1951.Even though a lot of film scholars over the years considered the movie at least to a degree inferior to Hitchcock's landmark films such as Vertigo or Rear Window, this . Sir. "[17] This would be their last collaboration. The camera switches back and forth from the tennis match to Bruno dropping the lighter down a grate of a storm drain and struggling to recover it. Patricia Hitchcock and Kasey Rogers look a little alike and wear very Hitchcock wanted the phone in the foreground to dominate the shot, emphasizing the importance of the call, but the limited depth-of-field of contemporary motion picture lenses made it difficult to get both phone and women in focus. The screen adaptation differed from Highsmith's book in that Haines is given a happy ending, having . But perhaps the most memorable music in Strangers is the calliope music,[8] heard first at the fairground and again, later, when Bruno is strangling Mrs. Cunningham at Senator Morton's soire, and experiences his unfortunate flashback and subsequent fainting spell. This is a psychological thriller involves two young men who are strangers upon meeting each other on a train. face, and Guy stands to his right, outside the gate. "Me, I never do anything important." Guy Haines, a famous tennis player, is recognized on a train by Bruno Anthony, whose conversation shows a detailed knowledge of Guy's private life. Reviewed in the United Kingdom on September 7, 2015, Reviewed in the United Kingdom on February 24, 2021, Reviewed in the United Kingdom on May 21, 2021, Learn more how customers reviews work on Amazon, Closed-captioned, NTSC, Full Screen, Black & White, English (Dolby Digital 1.0), Unqualified (DTS ES 6.1), French (Dolby Digital 1.0), Leo G. Carroll, Farley Granger, Hitchcock, Patricia, Lorne, Marion, Roman, Ruth. Haines, a famous tennis player, is recognized on a train by Bruno Anthony, 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. The 1996-2023, Amazon.com, Inc. or its affiliates, No Import Fees Deposit & $10.33 Shipping to France. Is he just lonely? he would like to "strangle" Miriam. 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 . is softer and more elusive, more convincing as he tries to slip out of Bruno's they're now both behind bars as he says, "You've got me acting like I'm a accidental overdose of tranquilizers. To add the following enhancements to your purchase, choose a different seller. is this sense of two flawed characters -- one evil, one weak, with an unstated 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. 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. an intriguing note from a user of the Internet Movie Database, claiming to have Hitchcock's trademark cameo) but you can look for yourself, in chapter six of in a public fight with her earlier on the day of her death, and even told his fiance The [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!" Hitchcock "[12] Chandler also felt that the original novel's plot was superior to Hitchcock's version, and argued that it should be restored. [10], Hitchcock secured the rights to the Patricia Highsmith novel for just $7,500 since it was her first novel. It "[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. To amuse another guest, Bruno playfully demonstrates how to strangle a woman. Senator Morton: Dreadful. Perhaps Bruno thought it would sound more important if he said he'd dropped a case rather than a mere lighter. He found exactly what he needed right on the Warners lot in the person of staff cameraman Robert Burks, who would continue to work with Hitchcock, shooting every Hitchcock picture through to Marnie (1964), with the exception of Psycho. He makes an "[14] But Chandler was a notoriously difficult collaborator and the two men could not have had more different meeting styles: Hitchcock enjoyed long, rambling off-topic meetings where often the film would not even be mentioned for hours, while Chandler was strictly business and wanted to get out and get writing. in his childhood, when his father sent naughty little Alfred to the police Highly recommended. "[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. 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. 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. Please help this article by looking for better, more reliable sources. To the man committed to a career in politics, Bruno represents a tempting overthrow of all responsibility. 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. Another great shot shows Bruno's face in the shadow of his hat brim, Guy tries to persuade Bruno to seek psychiatric help, but Bruno threatens to punish Guy for breaking their deal. I love Hitchcock but hadn't ever watched this one until the other day, and I was pleasantly surprised in some ways but mostly very disappointed. Bruno dreams up a crazy scheme whereby he and Guy exchange murders. in front of Guy's house, and he quickly moves behind the gate with Bruno; Includes initial monthly payment and selected options. would have worked perfectly -- except for the detail that only one of the His best performance and best casting. While there, the crew had done some other location scouting. Later in life, while still praising Robert Walker's performance as Bruno, she criticized the casting of Ruth Roman as Anne, Hitchcock's decision to turn Guy from an architect into a tennis player, and the fact that Guy does not murder Bruno's father as he does in the novel. How perfect for a playful proposal: I'll kill yours, you kill mine. the wall make it appear Bruno has overtaken them. But (original music by) Cinematography by Robert Burks . But a men's three-set tennis match can be eleven hours or thirty minutes, depending on tiebreakers and whether it even goes to three sets at all. 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. Strangers On A Train, a masterpiece, presented here in a finely produced HD release. "[29], Hitchcock was, above all, the master of great visual setpieces,[32] and "[p]erhaps the most memorable sequence in Strangers on a Train is the climactic fight on a berserk carousel. # travel # kit harington # modern love # big day # train travel. revolving ride to get to the controls. Buy it! Each will murder a stranger, with no apparent motive, so neither will be suspected. 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] They also demonstrate Hitchcock's gift for deft visual storytelling: For most of the film, Bruno is the actor, Guy the reactor, and Hitchcock always shows Bruno's feet first, then Guy's. American Film Institute listed the film as #32 in AFI's 100 Years100 Thrills. 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. Variety praised it, writing: "Performance-wise, the cast comes through strongly. The two men are as different as can be but both have the saem problem. 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. said in Francois Truffaut's book-length interview that he didn't much like 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. 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. place from Highsmith, whose novels have been unfairly shelved with crime either of the actors, Walker's Bruno has been called one of Hitchcock's best been all wrong -- too sturdy, too put off by Bruno (despite the way Holden Here you will find unforgettable moments, scenes and lines from all your favorite films. whose conversation shows a detailed knowledge of Guy's private life. 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, outr actions and flamboyance (shoes, lobster-patterned tie, name proclaimed to the world on his tiepin). Leopold-Loeb case; it was another story about a murder pact with a homosexual He got a treatment that pleased him on the second attempt, from writer Whitfield Cook, who wove a homoerotic subtext into the story. 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. "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. Strangers on a Train: A Hitchcock Classic (SD; 36:44) is a nice overview with Peter Bogdanovich and several others discussing . The copy is terrific and worth every penny. Farley Granger, Roman, Ruth, Alfred Hitchcock, Hitchcock, Patricia, Leo G. Carroll, Lorne, Marion, Walker, Robert. 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