An analysis of the classic cinema in the movie strangers on a train

strangers on a train remake 2017

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.

It was Hitchcock, not Tiomkin, whose idea brought the four evocative numbers [22] — " The Band Played On ", " Carolina in the Morning ", " Oh, You Beautiful Doll ", and " Baby Face " — to the soundtrack: In one of Hitchcock's most explicit operatic gestures, the characters at the fateful carnival sing the score, giving it full dimension as part of the drama.

And since it is Guy's foot that taps Bruno's under the table, we know Bruno has not engineered the meeting. In a way, Bruno wants to be Guy and tries to bring him down to his own level of insecurity, neurosis, and insanity.

strangers on a train 2011 remake

To think she may have been haunting it all of these years. Tweet The abiding terror in Alfred Hitchcock's life was that he would be accused of a crime he did not commit.

strangers on a train remake

Also pasted into the track is Alfred Hitchcock from interview tapes. Ziegler 's eye. Hitchcock and his cast and crew decamped for the East Coast on October 17, Moritz, for a 25th anniversary European excursion.

Strangers on a train summary

At first glance, Guy represents the ordered life where people stick to rules, while Bruno comes from the world of chaos, [50] where they get thrown out of multiple colleges for drinking and gambling. Hitchcock uses shadows, large doors and mirrored shots to convey the twisted insanity of the premise. 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. 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. Bruno Robert Walker, in a performance that carefully juggles pussy-whipped nelliness and misogynistic wrath casually and amorally suggests that they exchange murders to rid themselves of their own worst enemies. Early in the story, year-old decadent Bruno preys on Guy, a year-old career oriented architect. After Bruno has a fatal accident, Guy is unable to live with his guilt any longer and allows himself to be arrested. He is seen carrying a double bass as he climbs onto a train. 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 Carringer has written of a political subtext to the film. 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. Guy talks about his profession and his aspirations. Strangers on a Train is the exception. Guy is offended by the references to his private life, but inexplicably doesn't break off the conversation -- which ends on an ambiguous note, with Bruno trying to get Guy to agree to the plan, and Guy trying to jolly him along and get rid of him.

But to ignore the subtext during the runaway carousel climax is to be absolutely blind. 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.

An analysis of the classic cinema in the movie strangers on a train

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. Farley Granger plays tennis player and politics hopeful Guy Haines, who is married to an adulterously pregnant woman Miriam Kasey Rogers, going by Laura Eliott at the time that refuses to divorce him. Hitchcock insists on perfection. 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. Moritz, for a 25th anniversary European excursion. Over lunch in his private compartment, Bruno reveals that he wants his father dead, and suggests a "perfect crime" in which he would murder Guy's wife, Guy would murder Bruno's father, and neither would ever be suspected. Yet "[b]oth men, like so many of Hitchcock's protagonists, are insecure and uncertain of their identity. This shot was famously unfaked, and the stunt man could have been killed; Hitchcock said he would never take such a chance again. The kid sister gets the creepiest lines in "Strangers on a Train," especially during an early meeting involving Guy and the senator's whole family; she keeps blurting out what everyone is afraid to say. They are strangers so there would be no connection. 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. Hitchcock himself designed Bruno's lobster necktie, revealed in a close-up to have strangling lobster claws, [27] 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" [21] in the scene where Bruno inadvertently drops Guy's lighter down the storm drain. And since it is Guy's foot that taps Bruno's under the table, we know Bruno has not engineered the meeting. But Hitchcock takes music to another level. Advertisement It is a plot made of ingenuity and amorality, based on the first novel by Patricia Highsmith , who in her Ripley novels and elsewhere was fascinated by brainy criminals who functioned not out of passion but from careful calculation, and usually got away with their crimes.

Advertisement It is a plot made of ingenuity and amorality, based on the first novel by Patricia Highsmithwho in her Ripley novels and elsewhere was fascinated by brainy criminals who functioned not out of passion but from careful calculation, and usually got away with their crimes.

Rated 8/10 based on 85 review
Download
DVD Review: Alfred Hitchcock’s Strangers on a Train on Warner Home Video