"[34], 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. "[7] Perhaps it was the circumstances of her forced casting, but Roman became the target of Hitchcock's scorn throughout the production. Variety praised it, writing: "Performance-wise, the cast comes through strongly. The psychopath suggests that because they each want to "get rid" of someone, they should "exchange" murders, and that way neither will be caught. It is based on the book by Patricia Highsmith who is very famous for her “The Talented Mr. Ripley”. Hitchcock's even-strained response: "Cut. Especially with Bruno, who held the movie together as he did the book." Marc Lee reviews a classic that every film-lover will want to own. [43] 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. The rest was complete by early November. "[42] "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,"[35] but "we were [only] up there two or three minutes at the outside.... My father wasn't ever sadistic. We FOCUS on a taxi pulling up and stopping, The driver hands out modest looking luggage, … Guy had also made some unfortunate statements about Miriam after she had refused to divorce him. Roman's role as a nice, understanding girl is a switch for her, and she makes it warmly effective. His plan is relatively simple: Two strangers each agree to kill someone the other person wants gone. After Harry's body is found in the woods, several locals must determine not only how and why he was killed but what to do with the body. Talking about the structure of the film, Hitchcock said to Truffaut, "Isn't it a fascinating design? note . [63][64], According to Warner Bros' records, the film earned $1,788,000 domestically and $1,144,000 in foreign territories.[1]. FADE IN: EXT. 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. You must be a registered user to use the IMDb rating plugin. Get a sneak peek of the new version of this page. 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. [66] 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). Her suspicions aroused, Anne confronts Guy, who tells her the truth about Bruno's crazy scheme. 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. On the train, he meets slender, disturbing Charles Bruno, who hates his father. His gaze falls upon Barbara, whose glasses and physical appearance resemble Miriam's. 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. Guy dismisses it all out of hand, but Bruno goes ahead with his half of the "bargain" and disposes of Miriam. 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. It is a typical film of Hitchcock. "[46], Guy and Bruno are in some ways doubles, but in many more ways, they are opposites. Strangers on a train Before I ventured to Bodnant Gardens . "[I]n one of the most unexpected, most aesthetically justified moments in film,"[28] the slow, almost graceful, murder is shown as a reflection in the victim's eyeglasses, which have been jarred loose from her head and dropped to the ground. I see it every time it is shown on television, and I also watch the tape I have of it occasionally.Robert Walker's performance only seems to improve with each new viewing.I can not recommend this movie highly enough.If Hitchcock and Robert Walker can read me, up there in heaven, let me congratulate them both on an absolutely superlative job! 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. [15] 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. [13] Talks with Dashiell Hammett got further,[11] but here too communications ultimately broke down, and Hammett never took the assignment. 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. 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;[25] the photo found its way into newspapers nationwide. Yet as Bruno describes his "theories" over lunch, "Guy responds to Bruno — we see it in his face, at once amused and tense. "[12], Even before sewing up the rights for the novel, Hitchcock's mind was whirling with ideas about how to adapt it for the screen. Whether you watch weekly or want to join in for the big finish, get ready for these big Spring TV and streaming finales. And since it is Guy's foot that taps Bruno's under the table, we know Bruno has not engineered the meeting. Keep track of everything you watch; tell your friends. [3] "Granger is softer and more elusive, more convincing as he tries to slip out of Bruno's conversational web instead of flatly rejecting him. It is full of stylistic techniques to achieve a desirable effect of suspense. The band plays on through Bruno's stalking of his victim and during the murder itself, blaring from the front of the screen, then receding into the darkness as an eerie obbligato when the doomed Miriam enters the Tunnel of Love.[38]. 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. Next shot. Bruno mentions Guy's missing cigarette lighter to Anne and claims that Guy asked him to search the murder site for it. Warner Bros financial information in The William Shaefer Ledger. It is those flaws that set up the real themes of Strangers. Written by [43] Hitchcock made personal appearances in most of them, and was often accompanied by his daughter. While he had previous Hitchcock experience on Shadow of a Doubt (1943), and would go on to score two more consecutive Hitchcock films, the director and composer "simply never developed much of a kinship"[21] and "the Hitchcock films are not Tiomkin's best". Each will murder a total stranger, with no apparent motive, so neither will be suspected. [45], 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. Senator. 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. [6] The director found her "bristling" and "lacking in sex appeal" and said that she had been "foisted upon him. After Guy arrives, he and Bruno fight on the park's carousel. "[62], Patricia Highsmith's opinion of the film varied over time. [19], Carringer has argued that the film was crucially shaped by the Congressional inquiries, making Guy the stand-in for victims of the homophobic climate. In 1950, Alfred Hitchcock, after failing to secure Dashiell Hammett’s services, approached Chandler with the job of adapting Strangers on a Train, a debut novel by the then-unknown Patricia Highsmith. And just like its "[26], One of the most memorable single shots in the Hitchcock canon — it "is studied by film classes", says Laura Elliott, who played Miriam[27] – is her character's strangulation by Bruno on the Magic Isle. This was the final completed film for Robert Walker, who died suddenly of drug and alcohol abuse less than two months after release. Black comedy: Strangers on a Train . It all leads the police to believe Guy is responsible for the murder, forcing him to deal with Bruno's mad ravings. 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."[36]. Some audience feedback arriving at Jack Warner's office condemned the film for its sordid story, while just as many others were favorable. [11][14] Chandler took the job despite his opinion that it was "a silly little story. Guy Haines and Charles Anthony Bruno are passengers on the same train. Ebert wrote: Hitchcock was a classical technician in terms of controlling his visuals, and his use of screen space underlined the tension in ways the audience isn't always aware of. Just in time for the centennial celebration of groundbreaking noir fiction writer Patricia Highsmith comes a reissue of her propulsive, engrossing debut, Strangers on a Train, with a new introduction by best-selling author Paula Hawkins. [23] Exteriors would be shot on both coasts, and interiors on Warner Brothers' soundstages. [35], Composer Dimitri Tiomkin was Jack Warner's choice to score Strangers on a Train. "He had to have one person in each film he could harass," Granger said. "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. "[13] 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. How far will she have to go to ingratiate herself with them? At first glance, Guy represents the ordered life where people stick to rules, while Bruno comes from the world of chaos,[48] where they get thrown out of multiple colleges for drinking and gambling. On a train, smooth-talking psychopath Bruno Antony recognizes Haines and reveals his idea for a murder scheme: two perfect strangers meet and "swap murders" — Bruno suggests he kill Miriam and Guy kill Bruno's hated father. "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. As the train was readied for departure, our party entered the last carriage, which gave us an uninterrupted view of the three groups, and settled in for the journey. In 1953, an innocent man named Christopher Emanuel "Manny" Balestrero is arrested after being mistaken for an armed robber. Strangers on a Train was a contemporary crime novel when it was fit published in 1950. What is the homoerotic message in the film? This ending, however, was not acceptable to Warner Bros.[27], 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 perhaps the most memorable music in Strangers is the calliope music,[21] 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. Some people are better off dead.") Directed by Alfred Hitchcock. For example, Guy could kill his father and he could get rid of Guy's wife Miriam, freeing him to marry Anne Morton, the beautiful daughter of a U.S. Hitchcock had written exacting specifications for an amusement park, which was constructed on the ranch of director Rowland Lee in Chatsworth, California. The only sadistic part was I never got the hundred dollars."[42]. [12] 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. West Side Tennis Club - 1 Tennis Place, Forest Hills, Queens, New York City, New York, USA. 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 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). To pressure Guy, Bruno follows him around Washington, introduces himself to Anne, and appears at a party at Senator Morton's house. Even classic endeavors like Fargo and A Simple Plan seem directly fueled by this concept..."[61], 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. Anne visits Bruno's home and unsuccessfully tries to explain to his befuddled mother that her son is a murderer. [9], Hitchcock secured the rights to the Patricia Highsmith novel for just $7,500 since it was her first novel. Together the three women, working under the boss's guidance and late into most nights,[15] finished enough of the script in time to send the company East. The closest thing Hitchcock has done to a Noir, Strangers on a Train is one of his most underrated. Hecht suggested his assistant, Czenzi Ormonde, to write the screenplay. [20] 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. A priest, who comes under suspicion for murder, cannot clear his name without breaking the seal of the confessional. Title: It was shot in the autumn of 1950 and released by Warner Bros. on June 30, 1951. 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. [35] Although that account continues to be published in books to this day, "it just wasn't true", according to Patricia Hitchcock O'Connell. 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. Bruno is delayed when he accidentally drops Guy's lighter down a storm drain and must retrieve it. "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." 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. Guy goes to the Mortons' home, where Anne's father informs Guy that his wife has been murdered. [41] 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. Anne's sister Barbara says that the police will think that Guy is the murderer since he has a motive. [55] 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. "[21] 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 years—and Robert Burks captured it magnificently. [40] He was also photographed adding the letter L to Strangers on the official studio poster for the film,[25] thus changing the word to Stranglers. Right from the start, we see that Guy does, on some level, accede. "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. STRANGERS ON A TRAIN, Copenhagen. Strangers on a Train, of course, showcases the technical prowess and brilliant editing that are among the hallmarks of Hitchcock’s work. He makes an excellent suspect because of the genius of the actual killer's original plan: Two strangers will "exchange murders," each killing the person the other wants dead. Was this review helpful to you? [17] 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. As Bruno dies, his fingers open to reveal Guy's lighter in his hand. [8] Granger diplomatically described it as Hitchcock's "disinterest" (sic) in the actress, and said he saw Hitchcock treat Edith Evanson the same way on the set of Rope (1948). The camera was on one side of the reflector, Elliott was on the other, and Hitchcock directed Elliott to turn her back to the reflector and "float backwards, all the way to the floor... like you were doing the limbo. The novel has been adapted multiple times, most famously by Alfred Hitchcock … It was adapted as a film in 1951 by director Alfred Hitchcock and again in 1969 by Robert Sparr. 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. [27] 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. It was shot in the autumn of 1950 and released by Warner Bros. on June 30, 1951. In a final train scene, another stranger attempts to strike up conversation with Guy in the same way as had Bruno. Strangers on a Train (novel) From Wikipedia, the free encyclopedia Strangers on a Train (1950) is a psychological thriller novel by Patricia Highsmith about two men whose lives become entangled after one of them proposes they "trade" murders. He has no patience with mediocrity on the set or at a dinner table. He also showed intense interest in a seldom-considered detail of character delineation: Food. As with Shadow of a Doubt, Strangers on a Train is one of many Hitchcock films to explore the doppelgänger theme. A retired jewel thief sets out to prove his innocence after being suspected of returning to his former occupation. To the man committed to a career in politics, Bruno represents a tempting overthrow of all responsibility. With Farley Granger, Robert Walker, Ruth Roman, Leo G. Carroll. STRANGERS ON A TRAIN. "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. By month's end, they were back in California. How does this change their dynamic? "[45] 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. Guy had also made some unfortunate statements about Miriam after she had refused to divorce him. Strangers on a Train. A New York City advertising executive goes on the run after being mistaken for a government agent by a group of foreign spies. Strangers on a Train It features Leo G. Carroll, Pat Hitchcock (the director's daughter), and Laura Elliott (later known as Kasey Rogers). An early preview edit of the film, sometimes labeled the "British" version although it was never released in Britain or anywhere else, includes some scenes either not in, or else different from, the film as released. garykmcd. A carnival worker crawls underneath it and applies the brakes too abruptly, causing the carousel to violently spin off its support, trapping the mortally injured Bruno underneath. [55] "Highsmith's Bruno is a physically repugnant alcoholic... but in [Whitfield Cook's] hands, the film's Bruno became a dandy, a mama's boy who speaks French, and who professes ignorance of women. [45], 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!" 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. He called the meetings "god-awful jabber sessions which seem to be an inevitable although painful part of the picture business. How does this change their relationship with Ron, with everyone? "[60], More recent criticism is generally, though not universally, more positive. Want to share IMDb's rating on your own site? In Raymond Chandler's second draft script — which Hitchcock ceremoniously dropped into the wastebasket while daintily holding his nose — the final shot is Guy Haines, institutionalized, bound in a straitjacket. ... Perhaps there will be those in the audience who will likewise be terrified by the villain's darkly menacing warnings and by Mr. Hitchcock's sleekly melodramatic tricks. They argue loudly. [32], 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. This fear is at the heart of many of his best films, including "Strangers on a Train" (1951), in which a man becomes the obvious suspect in the strangulation of his wife. The trouble with Harry is that he is dead and, while no one really minds, everyone feels responsible. Hermione Granger is the first person to meet Harry on the Hogwarts Express, not Ron Weasley. "[28], Hitchcock was, above all, the master of great visual setpieces,[31] and "[p]erhaps the most memorable sequence in Strangers on a Train is the climactic fight on a berserk carousel. A psychiatrist protects the identity of an amnesia patient accused of murder while attempting to recover his memory. "Hitchcock told me that this scene was the most personally frightening moment for him in any of his films", writes biographer Charlotte Chandler. As shown in theaters, the film ends with … Appalled, Guy leaves, forgetting his book of Plato. Ormonde hunkered down with Hitchcock's associate producer Barbara Keon—disparagingly called "Hitchcock's factotum" by Chandler[17]—and Alma Reville, Hitchcock's wife. "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. It was Hitchcock's first film for Warner Bros. Where is Hitchcock's cameo in this movie? He is seen carrying a double bass as he climbs onto a train. 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. 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