Highsmith is most interested in Guy’s mental journey and collapse as Bruno continually pressures him to hold up his end of the bargain. "[47] And at this point the blurring of good and evil accelerates: Guy fails to repudiate Bruno's suggestive statement about murdering Miriam ("What's a life or two, Guy? It all leads the police to believe Guy is responsible for the murder, forcing him to deal with Bruno's mad ravings. He is the perfect victim for Walker, and is a weakling who won't even go to the police when the murder swapping scenario begins. There’s also a person exactly the opposite of you, like the unseen part of you, … 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. 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. 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]. Guy dismisses it all out of hand, but Bruno goes ahead with his half of the "bargain" and disposes of Miriam. 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. A wealthy San Francisco socialite pursues a potential boyfriend to a small Northern California town that slowly takes a turn for the bizarre when birds of all kinds suddenly begin to attack people. 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. His dark, perverse character is the epitome of evil with a smiling face. The story, from the book by Patricia Highsmith, is well adapted from the original and may even be better. [11], Securing the rights to the novel was the least of the hurdles Hitchcock would have to vault to get the property from printed page to screen. It was shot in the autumn of 1950 and released by Warner Bros. on June 30, 1951. 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. Use the HTML below. Roman's role as a nice, understanding girl is a switch for her, and she makes it warmly effective. Walker's role has extreme color, and he projects it deftly. [43] It premiered in New York on July 3, marking the reopening of the extensively remodeled Strand Theatre as the Warner Theatre, and in a dozen cities around the country. She initially praised it, writing: "I am pleased in general. Train of Fools. "[29] The first six takes went badly—Elliott thudded to the floor with several feet yet to go[22]—but on the seventh take, she floated smoothly all the way. Two men attempt to prove they committed the perfect crime by hosting a dinner party after strangling their former classmate to death. 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. This piece of film he then enlarged and projected onto a vast screen, positioning actors around and in front of it so that the effect is one of a mob of bystanders into which plaster horses and passengers are hurled in deadly chaos. Need some help finding the best things to watch on Netflix? Was this review helpful to you? Bruno is delayed when he accidentally drops Guy's lighter down a storm drain and must retrieve it. 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 captivating story of … By month's end, they were back in California. Guy tries to persuade Bruno to seek psychiatric help; Bruno threatens to punish Guy for breaking their deal. "[22], Burks considered his fourteen years with Hitchcock the best of his career: "You never have any trouble with him as long as you know your job and do it. He admits that he spends over $5,000 a year on his character development project and trains 3-4 times every day, Los Angeles, USA, April, 2017. The only sadistic part was I never got the hundred dollars."[42]. Hermione Granger is the first person to meet Harry on the Hogwarts Express, not Ron Weasley. [8] The amusement park exteriors were shot there and at an actual Tunnel of Love at a fairground in Canoga Park, California. As Bruno dies, his fingers open to reveal Guy's lighter in his hand. 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. “Strangers on a Train” is one of the masterpieces of Alfred Hitchcock that had a great success. "[15] This would be their last collaboration. His personality is so unattractive that it makes you wonder how Ruth Roman could ever be in love with him. Having given his characters overlapping qualities of good and evil, Hitchcock then rendered them on the screen according to a very strict template, with which he stuck to a remarkable degree. [8] 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. Pure Hitchcock. A psychiatrist protects the identity of an amnesia patient accused of murder while attempting to recover his memory. Warner Bros financial information in The William Shaefer Ledger. So, we have good news and bad news. Just how much better could Harry Potter's life have been if a certain bushy-haired witch had wandered into his compartment just a few minutes earlier? 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. "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. 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 has recognized Guy. Bruno is rather a child. 9 of 13 people found this review helpful. The official Facebook page for Strangers on a Train | "You'll be in the grip of love's strangest trip!" They argue loudly. Ormonde hunkered down with Hitchcock's associate producer Barbara Keon—disparagingly called "Hitchcock's factotum" by Chandler[17]—and Alma Reville, Hitchcock's wife. October 4, 2019. 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. 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[25] and it won a prize from the Screen Directors Guild. Guy humors Bruno by pretending to find his idea amusing, but is so eager to get away from Bruno that he carelessly leaves behind his engraved cigarette lighter, which Bruno keeps. But, for all that, his basic premise of fear fired by menace is so thin and so utterly unconvincing that the story just does not stand. "[3] 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. At the same time, it was threadbare and timeworn. Miriam informs Guy that she no longer wants to end their marriage. [16]—always a plus with Hitchcock. As shown in theaters, the film ends with … "Strangers on a Train is a moral-vertigo thriller: Crime and Punishment for a post-atomic age." Yet as Bruno describes his "theories" over lunch, "Guy responds to Bruno — we see it in his face, at once amused and tense. "[21], Hitchcock took a toy carousel and photographed it blown up by a small charge of explosives. Loving the Alien. Instead of arresting Guy, the police assign an around-the-clock escort to watch him. It all leads the police to believe Guy is responsible for the murder, forcing him to deal with Bruno's mad ravings. I always thought that Robert Walker was a lightweight and happened to be Jennifer Jones' husband and that was about the extent of it. How far will she have to go to ingratiate herself with them? [5], David Keyes, writing at cinemaphile.org in 2002, saw the film as a seminal entry in its genre: "Aside from its very evident approach as a crowd-pleasing popcorn flick, the movie is one of the original shells for identity-inspired mystery thrillers, in which natural human behavior is the driving force behind the true macabre rather than supernatural elements. Farley Granger, who never was one of my favorites is all wrong for the part of Guy Haines. Guy had also made some unfortunate statements about Miriam after she had refused to divorce him. 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. 'If the man had raised his head even slightly", Hitchcock said, "it would have gone from being a suspense film into a horror film. This triggers a flashback; Bruno compulsively squeezes the woman's neck, and other guests intervene to stop him from strangling the woman to death. [19] "To all appearances Guy is the all-American stereotype, an athlete, unassuming despite his fame, conservatively dressed," wrote Carringer; he is "a man of indeterminate sexual identity found in circumstances making him vulnerable to being compromised. Her suspicions aroused, Anne confronts Guy, who tells her the truth about Bruno's crazy scheme. Strangers On A Train is a psychological thriller. In a conventional movie, the tune would play in the background as a clever ironic backdrop. A retired jewel thief sets out to prove his innocence after being suspected of returning to his former occupation. His plan is relatively simple: Two strangers each agree to kill someone the other person wants gone. How does this change their relationship with Ron, with everyone? [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. Highsmith isn’t exactly sympathetic to the almost perpetually drunken Bruno, but she lets his character … The psychopath suggests that because they each want to "get rid" of someone, they should "exchange" murders, and that way neither will be caught. His plan is relatively simple: Two strangers each agree to kill someone the other person wants gone. 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. In a final train scene, another stranger attempts to strike up conversation with Guy in the same way as had Bruno. American Film Institute listed the film as #32 in AFI's 100 Years...100 Thrills. 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. Believing that Guy is trying to escape, a police officer shoots at him, but the shot misses, and instead kills the carousel operator, causing the carousel to spin out of control. Strangers on a Train is 29-year-old Patricia Highsmith’s dark debut novel from 1950. "[36] 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 Station—because it was scored for an unusually large orchestra, including alto, tenor and baritone saxes, three clarinets, four horns, three pianos and a novachord. Rish Shah To Co-Star In The Netflix Pic ‘Strangers’ From ‘Someone Great’ Director, Movie Poster of the Week: Alfred Hitchcock in His Posters, ’Loving Highsmith,’ Casting New Light on the Crime Novelist, Taken by Filmcoopi, Salzgeber & Co (Exclusive), The Mysteries of Laura: The Mystery of the Morning Jog. Hitchcock was attracted by the theme of the exchange crime”. She went on to produce another twenty-one. and the other, far distant, makes a choking gesture. It is those flaws that set up the real themes of Strangers. "[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. HITCHCOCK DIDN'T LIKE THE ENDING—EITHER OF THEM. Maybe Commodus Was the Good Guy. Between the two versions of the film, the "British" version most prominently omits the final scene on the train. [66] 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. After winning a tennis match, Guy evades the police-escort, and heads for the amusement park to stop Bruno. 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. Hitchcock insisted on using him (see "Rope")....he obviously saw something in him. It features Leo G. Carroll, Pat Hitchcock (the director's daughter), and Laura Elliott (later known as Kasey Rogers). Let our editors help you find what's trending and what's worth your time. I knew the difference between my own opinion and … "[47] 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. The premise is that two strangers meet on a train and one of them offers the idea that because both of them have someone of whom they would like to be rid, each will commit the murder for the other with whom they have no connection, thus leaving no obvious motive for the police to investigate. [43] Hitchcock made personal appearances in most of them, and was often accompanied by his daughter. This may not be one of Hitchcock's best films but it certainly should be on everyone's list as a must-see. She threatens to claim that he is the father, in order to thwart any divorce-attempt. 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. 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. Strangers on a Train (1951), Drama released in English language in theatre near you. "[62], Patricia Highsmith's opinion of the film varied over time. With a release scheduled for early summer, the studio press agents swung into high gear early in 1951. It is one of the moments in Hitchcock's work that continues to bring gasps from every audience and applause from cinema students. "[46], Guy and Bruno are in some ways doubles, but in many more ways, they are opposites. [39] It is a score that "goes largely uncelebrated."[39]. It was Hitchcock's first film for Warner Bros. He is seen carrying a double bass as he climbs onto a train. Guy correctly infers that Bruno intends to plant it at the scene of the murder, and incriminate him. The unusual angle was a more complex proposition than it seems. Talking about the structure of the film, Hitchcock said to Truffaut, "Isn't it a fascinating design? And just like its "[11] Interpersonal relations deteriorated rapidly until finally Chandler became openly combative; at one point, upon viewing Hitchcock struggling to exit from his limousine, Chandler remarked within earshot, "Look at the fat bastard trying to get out of his car! 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. "[27], Principal photography wrapped just before Christmas, and Hitchcock and Alma left for a vacation in Santa Cruz,[25] then in late March 1951, on to St. Moritz, for a 25th anniversary European excursion. 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. [17], Even while the torturous writing stage was plodding its course, the director's excitement about the project was boundless. The story concerns two strangers who meet on a train, a young tennis player and a charming psychopath. [8], Kasey Rogers (whose performance as Miriam is 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. His gaze falls upon Barbara, whose glasses and physical appearance resemble Miriam's. [12] Treatment writer Cook used Guy to make the film "a parable quietly defiant of the Cold War hysteria sweeping America. What is the homoerotic message in the film? I expected more from this author. [16], There was not much time though — less than three weeks until location shooting was scheduled to start in the East. The worker who had called the police now tells them that Bruno, not Guy, is the one whom he remembers seeing the night of the murder. A former tennis player tries to arrange his wife's murder after learning of her affair. See Appendix 1, Historical Journal of Film, Radio and Television, (1995) 15:sup1, 1–31 p 31 DOI: 10.1080/01439689508604551, sfn error: no target: CITEREFMcGillian2006 (, sfn error: no target: CITEREFChandler2004 (, sfn error: no target: CITEREFMcGillligan2004 (, Warner Bros. press release #HO9-1251, November 30, 1950, 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", 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=1022804108, Films based on works by Patricia Highsmith, Films with screenplays by Raymond Chandler, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 12 May 2021, at 15:50. 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. When the novel was adapted into film by Alfred Hitchcock, he famously managed to buy the rights cheaply, forking out only $7500. 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. Variety praised it, writing: "Performance-wise, the cast comes through strongly. Bruno sends Guy a package containing a pistol, a house key, and a map showing the location of his father's bedroom. He called the meetings "god-awful jabber sessions which seem to be an inevitable although painful part of the picture business. 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. In Hitchcock's cameo he carries a double bass. The film explores the ultimately fatal connection forged between the eponymous strangers, Bruno Anthony and Guy Haines. Double! When Guy balks, Bruno makes it clear that he will plant evidence to implicate Guy in her murder if he doesn't get rid of his father. Guy creeps into Bruno's father's room to warn him of his son's murderous intentions, but instead he finds the suspicious Bruno there waiting for him; the father is not at home. "[19] 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. [19] 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.[19]. "[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. A woman is asked to spy on a group of Nazi friends in South America. 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