Screenshots. Brief content visible, double tap to read full content. 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. Poor unfortunate girl. His gaze falls upon Barbara, whose appearance resembles Miriam's. in a public fight with her earlier on the day of her death, and even told his fiance 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. whose conversation shows a detailed knowledge of Guy's private life. Patricia Hitchcock and Kasey Rogers look a little alike and wear very He 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. 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. The rest was complete by early November. allowed an aging actress to manipulate him in "Sunset Boulevard"). 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: Strangers On A Train is about two men, Guy Haines and Bruno Anthony, who meet on a train by accidentally knocking shoes. So Hitchcock had an oversized phone constructed and placed in the foreground. The story concerns two strangers who meet on a train, a young tennis player and a charming psychopath. Best known is the one "[8] Perhaps it was the circumstances of her forced casting, but Roman became the target of Hitchcock's scorn throughout the production. the wall make it appear Bruno has overtaken them. they're now both behind bars as he says, "You've got me acting like I'm a 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. # travel # kit harington # modern love # big day # train travel. Summaries A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder. 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. "[37] Bruno, who tells Guy on the train that he admires people "who do things", gets a more vigorous musical treatment from Tiomkin: "Harmonic complexity defines the motifs associated with Bruno: rumbling bass, shocking clusters, and glassy string harmonics. "[50], Bruno tells Guy early on that he admires him: "I certainly admire people who do things", he says. "[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. But that is precisely what they got: STRANGERS ON A TRAIN. Hitchcock had a crew shoot background footage of the 1950 Davis Cup finals held August 2527, 1950 at the West Side Tennis Club in Forest Hills, New York. The police assign an escort to watch him. 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. [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]. She initially praised it, writing: "I am pleased in general. out. Is he dishonest? A tennis player, Guy HAINES, is about to finalize the divorce between him and his promiscuous wife. Interesting more as an "intellectual exercise" than anything else, but indispensable for those interested in seeing how Hitchcock continued to shape his films after an initial cut. 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. Georgetown house when Bruno whispers from across the street to summon him. Another great shot shows Bruno's face in the shadow of his hat brim, It is a twisting story of a male-on-male Robert Walker is uncanny. The psychological game that Bruno plays on Guy is to force him to kill Bruno's over-bearing father. wants dead. "[30] The first six takes went badlyElliott thudded to the floor with several feet yet to go[23]but on the seventh take, she floated smoothly all the way. spotted Highsmith in a cameo in the film. Beyond all the historical footnotes and film-buff fascination, Strangers on a Train remains one of Hitchcock's crowning achievements and a suspenseful classic that never loses its capacity to thrill and delight. 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. One is tennis star Guy Hianes (Farley Granger) who is in the process of divorcing his unfaithful wife and the other is Bruno Antony, (Robert Walker) the psychopath son of a wealthy man who hates. See production, box office & company info. It's worth noticing that 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. The pair has what writer Peter Dellolio refers to as a "dark symbiosis. So much occurs in pairs. After Guy arrives, he and Bruno fight on the park's carousel. scene in the record store, writing something in a notebook. Sometime later, another stranger on a train attempts to strike up conversation with Guy in the same way as had Bruno. In a scene where Guy goes Bruno agrees to kill Guy's unfaithful wife, in return for which Guy will (or so it seems) kill Bruno's spiteful father. [44] Hitchcock made personal appearances in most of them, and was often accompanied by his daughter. Strangers on a Train(1950) is a suspense thriller by Patricia Highsmith, based on the premise that two strangers swap murders. "[5], The two characters, Guy and Bruno, can be viewed as doppelgngers. party when he sees Barbara, flashes back to the murder, and flips out. Granger 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. weaker characters, while the right is for characters who are either good, or Behind the Story contains these featurettes: Strangers on a Train: A Hitchcock Classic (SD; 36:44) is a nice overview with Peter Bogdanovich and several others discussing the importance of the film in the Hitchcock canon; Strangers on a Train: The Victim's P.O.V. Psychotic mother's boy Bruno Anthony meets famous tennis professional Guy Haines on a train. Here you will find unforgettable moments, scenes and lines from all your favorite films. Upon its release in 1951, Strangers on a Train received mixed reviews. "[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. A recently found longer prerelease British print (Side B) offers "a startling amplification of Bruno's flamboyance, his homoerotic attraction to Guy and his psychotic personality," according to Bill Desowitz of Film Comment. His obsession with being wrongly accused no doubt refers to a traumatic episode Bruno sends Guy a package containing a pistol, a house key, and a map showing the location of his father's bedroom. Haines, a famous tennis player, is recognized on a train by Bruno Anthony, space underlined the tension in ways the audience is not always aware of. 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]. Strangers On A Train, a masterpiece, presented here in a finely produced HD release. "[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. [21] The scripting team added the tennis match and the crosscutting with Bruno's storm drain travails in Metcalf added the cigarette lighter, the Tunnel of Love, Miriam's eyeglasses; in fact, the amusement park is only a brief setting in the novel.[21]. [19], Even while the torturous writing stage was plodding its course, the director's excitement about the project was boundless. [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). Bruno dreams up a crazy scheme whereby he and Guy exchange murders. criminal.". Strangers on a Train previewed on March 5, 1951 at the Huntington Park Theatre, with Alma, Jack Warner, Whitfield Cook and Barbara Keon in the Hitchcock party[26] and it won a prize from the Screen Directors Guild. To the man committed to a career in politics, Bruno represents a tempting overthrow of all responsibility. While Hitchcock strips out much of the textured sociopathy of Bruno's machinations, Hitchcocks preserves the ripely perverse relationship and its intimacy and murderous expression. Tennis star Guy (Farley Granger) hates his unfaithful wife. He called the meetings "god-awful jabber sessions which seem to be an inevitable although painful part of the picture business. Robert Walker performance benefits from a subtle tense urgency that perhaps in his childhood, when his father sent naughty little Alfred to the police "[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. there would be no possible connection between killer and victim. 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. producer (uncredited) Music by Dimitri Tiomkin . would have worked perfectly -- except for the detail that only one of the Diabolique, intriguing, morally ambiguous and wonderfully directed and narrated. 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. [69] According to biographer Charlotte Chandler (Lyn Erhard), Hitchcock himself did not like either the "British" or the "American" version: Hitchcock told [Chandler] that the picture should have ended with Guy at the amusement park after he has been cleared of murdering his wife. Bruno knows about Guy well from reading gossip papers. # travel # wine # glass of wine # modern love # train travel. Alfred Hitchcock loved trains. How perfect for a playful proposal: I'll kill yours, you kill mine. 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. so often do, with a sense of private scores being settled just out of sight. rotate in the same direction -- except one.). 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. The more you watch, the more you'll see. "The scene gives a beautifully exact symbolic expression to Guy's relationship with Bruno and what he stands for. Images from the Hitchcock Gallery (click to view larger versions or search for all relevant images) 1000 Frames of Strangers on a Train (1951), articles about Strangers on a Train (1951), web links to information, articles, reviews, etc, Strangers on a Train (1951) - Warner Brothers (Blu-ray, UK, 2012), Alfred Hitchcock Collection - Warner Brothers (Blu-ray, UK, 2012), Der Fremde im Zug (1951) - Warner Brothers (Blu-ray, Germany, 2012), Strangers on a Train (1951) - Warner Brothers (Blu-ray, USA, 2012), Strangers on a Train (1951) - DVD releases, Strangers on a Train (1951) - Warner Brothers (UK, 2004), Strangers on a Train (1951) - Warner Brothers (USA, 2004), http://the.hitchcock.zone/w/index.php?title=Strangers_on_a_Train_(1951)&oldid=196012, to view all of the DVD releases of this film, see. And what he stands for resembles Miriam 's about to finalize the divorce between him and promiscuous. Moments, scenes and lines from all your favorite films train, a tennis... 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