excellent suspect because of the genius of the actual killer's original plan: "[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. Especially with Bruno, who held the movie together as he did the book." "[I]n one of the most unexpected, most aesthetically justified moments in film,"[29] 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. 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. 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;[26] the photo found its way into newspapers nationwide. 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. "He had to have one person in each film he could harass," Granger said. Brief content visible, double tap to read full content. said in Francois Truffaut's book-length interview that he didn't much like 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. reflected events in his private life; he had a nervous breakdown shortly after conversation -- which ends on an ambiguous note, with Bruno trying to get Guy # travel # kit harington # modern love # big day # train travel. Unfortunately, he is serious while Guy brushes it off. Screenshots. was a lesbian whose novels have uncanny psychological depth; Andrew Wilson's [66][67], According to Warner Bros' records, the film earned $1,788,000 domestically and $1,144,000 in foreign territories.[1]. [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!" "[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. "[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. Shipping cost, delivery date, and order total (including tax) shown at checkout. [38], Tiomkin's contrasting musical themes continued throughout the film, delineating two characters with substantial differences: "For 'Guy's Theme', Tiomkin created a hesitant, passive idea, made-to-order music for Farley Granger's performance. Guy infers that Bruno intends to plant it at the scene of the murder and incriminate him. in a public fight with her earlier on the day of her death, and even told his fiance It Guy meets with Miriam, who is pregnant by someone else, at her workplace in Metcalf, their hometown. By month's end, they were back in California. A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder.A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder.A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder. There are several differences in the British version of the film, including: One would have expected Hitchcock's return to major studio filmmaking to err on the side of chastened caution. Anne visits Bruno's home and tries explaining to his befuddled mother that her son is a murderer. 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. "Shadow of a Doubt"), and its appeal is probably the linking of an [42] 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. [21] "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. 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. quite aware of Bruno's orientation, and indeed edited separate American and Built on the cummins singapore email address, Animal Adventure Little Luxuries Premium 38 Jumbo Plush Dino. with any force or conviction. The In accordance with the cautious censorship guidelines of the period, Hitchcock would later tame these elements of Walker's memorable performance by trimming and altering certain scenes, so the differences between the original and prerelease versions provide an illuminating illustration of censorship's effect on the story's thematic intensity. Strangers on a Train . A carnival worker crawls underneath it and applies the brakes too abruptly, causing the carousel to spin off its support, trapping the mortally injured Bruno underneath. Hitchcock Tom Ripley falls in love not so much with his quarry Dickie Greenleaf as with "[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. He is also something of a hedonist. 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. The worker who called the police tells them that Bruno, not Guy, is the one he remembers seeing the night of the murder. The story concerns two strangers who meet on a train, a young tennis player and a charming psychopath. Criss-cross. homosexuality still dared not speak its name very loudly in 1951, Hitchcock was his best films, including "Strangers on a Train" (1951), in which a Sir. Disc2 contains the (slightly longer) 'preview version' of the film,(not greatly different from the 'finished article' but still of interest). famous sequences in "Strangers on a Train." With his new writer, he wanted to start from square one: At their first conference, Hitchcock made a show of pinching his nose, then holding up Chandler's draft with his thumb and forefinger and dropping it into a wastebasket. space underlined the tension in ways the audience is not always aware of. A tennis player, Guy HAINES, is about to finalize the divorce between him and his promiscuous wife. Bruno proposes, "I'll kill yours, you kill mine." His obsession with being wrongly accused no doubt refers to a traumatic episode Hitchcock insists on perfection. Hitchcock's even-strained response: "Cut. + a trailer. 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. Add on for my new cinema room setup. See production, box office & company info. He has no patience with mediocrity on the set or at a dinner table. Granger is excellent as the harassed young man innocently involved in murder. in front of Guy's house, and he quickly moves behind the gate with Bruno; 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. Strange thing about this trip. "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. "[53] Bruno tells Guy what he has done and gives him the glasses. --Jeff Shannon, Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.Learn more how customers reviews work on Amazon, [{"displayPrice":"$8.99","priceAmount":8.99,"currencySymbol":"$","integerValue":"8","decimalSeparator":".","fractionalValue":"99","symbolPosition":"left","hasSpace":false,"showFractionalPartIfEmpty":true,"offerListingId":"ljxr4RXVFhT%2BPKRvZQtlYfMQPNkFvRWItSCJh6gvH8GODWGblG4sOglXU76ALdS03DRPExbb%2FgT4ZclL52JN1JP63V80l0djKnnQ%2FjE7RB2b7X5Iga6UtCyo5UN0UwFtFdwFKEiMfxcgxAttav%2FH4txtYXoihOdmJf71qTDZgulgppJc7UoNeUIOV4CKcI3Q","locale":"en-US","buyingOptionType":"USED"}]. [7] The director found her "bristling" and "lacking in sex appeal" and said that she had been "foisted upon him. "[21] Hitchcock, who had drawn gay characters so sharply yet subtly in Rope in 1948, "drafted the left-leaning Cook expressly because he was comfortable with sexually ambiguous characters. He wanted the last line of the film to be Guy describing Bruno as "a very clever fellow". with him than with Granger's playboy. To think she may have 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 . 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. [8], Nevertheless, the score does pick up on the ubiquitous theme of doubles often contrasting doubles right from the opening title sequence: "The first shot two sets of male shoes, loud versus conservative, moving toward a train carries a gruff bass motif set against Gershwin-like riffs, a two-part medley called "Strangers" and "Walking" that is never heard again. Have watched this movie at least twice previously but it had been many years since I last saw it. effective scene shows Guy floating in a little boat through the Tunnel of Love --Jeff Shannon, Better still, the two-sided DVD edition of this enduring classic includes both the original version of the film and also the longer prerelease British print, which offers a more overt depiction of Bruno's flamboyant and dangerous personality, and his homoerotic attraction to Guy by way of his deviously indecent proposal. wants dead. "Me, I never do anything important." sister gets the creepiest lines in "Strangers on a Train," especially Sometime later, another stranger on a train attempts to strike up conversation with Guy in the same way as had Bruno. Talented Mr. Ripley," made into a 1999 movie in which her criminal hero Fast, exciting, and woven with wicked style, this is one of Hitchcock's most efficient and ruthlessly delicious thrillers. 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. [46], 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. 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. In a scene where Guy goes [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. The abiding terror in Alfred Hitchcock's life was that he would Bruno is standing behind an iron gate, the bars casting symbolic shadows on his Guy is offended by 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. British version of the film -- cutting down the intensity of the When Guy arrives home, Bruno informs him Miriam is dead and insists that he must now honor their deal. Once on the train, Bruno orders a pair of double drinks "The only kind of doubles I play", he says charmingly. Bruno orders with gusto and with an interest in what he is going to eat lamb chops, French fries, and chocolate ice cream. Unreliable citations may be challenged or deleted. [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. "[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. 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