"[22] 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. Strangers on a Train was the inspiration for the Orion Pictures' 1987 dark comedy Throw Momma From the Train, which was directed by Danny De Vito and starred De Vito and Billy Crystal. "The scene gives a beautifully exact symbolic expression to Guy's relationship with Bruno and what he stands for. "[53], Hitchcock continues the interplay of light and dark throughout the film: Guy's bright, light tennis attire, versus "the gothic gloominess of [Bruno's] Arlington mansion";[46] the crosscutting between his game in the sunshine at Forest Hills while Bruno's arm stretches into the dark and debris of the storm drain trying to fish out the cigarette lighter;[54] even a single image where "Walker is photographed in one visually stunning shot as a malignant stain on the purity of the white-marble Jefferson Memorial, as a blot on the order of things. One studio press release gave rise to a myth that still lingers on today. The press release embellished the tale, claiming he left her "dangling in total darkness for an hour,"[36] only then allowing his "trembling daughter" to be lowered and released. The direction… Review by DirkH ★★★★★ 8. "Strangers on a Train is a moral-vertigo thriller: Crime and Punishment for a post-atomic age." Each one is a really short novella (about 70 pages) and they are fabulous!! Leseprobe; Autorenporträt; Autorenwelt ; Rezensionen; Andere Kunden interessierten sich auch für. First Hitchcock got the exterior shots in Canoga Park, using both actors, then later he had Elliott alone report to a soundstage where there was a large concave reflector set on the floor. Strangers on a Train (1951) was director Alfred Hitchcock's suspenseful, noirish black and white thriller about two train passengers: tennis pro Guy Haines (Farley Granger) and psychopathic dandy Bruno Antony (Robert Walker), who staged a battle of wits and proposed trading murders with each other. "He had to have one person in each film he could harass," Granger said.[9]. There can be no compromise in his work, his food or his wines. Some audience feedback arriving at Jack Warner's office condemned the film for its sordid story, while just as many others were favorable. Strangers on a Train was her first novel. The fact that Strangers on a Train was Highsmith's first novel further contributed to Hitch's ability to low-ball her. 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. [28] 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. / I overheard you say, "Not stirred, but shaken." The "criss-cross" murder deal in "Strangers on a Train" indeed would have worked perfectly -- except for the detail that only one of the strangers agrees to it. [68], Strangers on a Train was adapted for the radio program Lux Radio Theatre on two occasions: on December 3, 1951, with Ruth Roman, Frank Lovejoy, and Ray Milland, and on April 12, 1954, with Virginia Mayo, Dana Andrews, and Robert Cummings.[44]. [10] In one scene, she can be seen dragging her hand along a table as she walks, so she could keep track of where she was. It is those flaws that set up the real themes of Strangers. Is 'Strangers on a Train' based on a book? Variety praised it, writing: "Performance-wise, the cast comes through strongly. 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. Her suspicions aroused, Anne confronts Guy, who tells her the truth about Bruno's crazy scheme. "Preferences in food characterize people..." Hitchcock said. 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. [52], Nowhere is this more evident than the scene where Guy arrives home at his D.C. apartment to find Bruno lurking across the street; Bruno killed Miriam that evening in Metcalf, and has her glasses to give to Guy almost as a "receipt" that he has executed his part of their "deal". "[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. Guy goes to the Mortons' home, where Anne's father informs Guy that his wife has been murdered. "[13] In the novel, Guy is pursued and entrapped by a tenacious detective.[16]. [44] 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. Correctly surmising that Bruno intends to incriminate him with it, Guy eludes the police after winning a match and heads for the amusement park to stop Bruno. [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. [12], 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. The story concerns two strangers who meet on a train, a young tennis player and a charming psychopath. 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. Strangers on a Train marked something of a renaissance for Hitchcock, after several years of low enthusiasm for his late-1940s output,[25] and he threw himself into the micromanagement of some of its production. Die Produktion ist schlank und sauber, nie überfrachtet oder schwammig. Strangers On a Train (Tom Finn) - 4:20 rating: *** stars The title track was a mess, unable to decided whether it wanted to be a power ballad, or a slice of power-pop. Her first novel Strangers on a Train was made into a famous film by Alfred Hitchcock in 1951. With a release scheduled for early summer, the studio press agents swung into high gear early in 1951. [18], Even while the torturous writing stage was plodding its course, the director's excitement about the project was boundless. Two men attempt to prove they committed the perfect crime by hosting a dinner party after strangling their former classmate to death. As with Shadow of a Doubt, Strangers on a Train is one of many Hitchcock films to explore the doppelgänger theme. Granger is excellent as the harassed young man innocently involved in murder. [18], Upon its release in 1951, Strangers on a Train received mixed reviews. She initially praised it, writing: "I am pleased in general. [9] 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. Strangers on a Train Lyrics: Pardon me, sir, is this seat taken? Bruno sends Guy a pistol, a house key, and a map showing the location of his father's bedroom. Die Filmstars Farley Granger , Ruth Roman und Robert Walker . [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. Rogers was effectively blind with the glasses on and needed to be guided by the other actors. Guy had also made some unfortunate statements about Miriam after she had refused to divorce him. Between the two versions of the film, the "British" version most prominently omits the final scene on the train. Juni 1951 von Warner Bros. veröffentlicht .. His plan is relatively simple: Two strangers each agree to kill someone the other person wants gone. Xnxnnxnxnxnnxnx. West End's most gripping new thriller. "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. Miriam and the two boyfriends in her odd ménage à trois bring "The Band Played On" to life by singing it on the merry-go-round, lustily and loudly... Grinning balefully on the horse behind them, Bruno then sings it himself, making it his motto. 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. It proceeds, as Hitchcock's films so often do, with a sense of private scores being settled just out of sight. "[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. Take a look ahead at some of our most anticipated superhero series arriving in 2021 and beyond. "[4], Warner Bros. wanted their own stars, already under contract, cast wherever possible. Didn't happen. [18] 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. 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. 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