Anne's sister Barbara says that the police will think that Guy is the murderer since he has a motive. [24] Exteriors would be shot on both coasts, and interiors on Warner Brothers' soundstages. "Hitchcock raced ahead of everyone: the script, the cast, the studio... pieces of the film were dancing like electrical charges in his brain. The astheticizing of the horror somehow enables the audience to contemplate more fully its reality. 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. 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. "[30] The first six takes went badly—Elliott thudded to the floor with several feet yet to go[23]—but on the seventh take, she floated smoothly all the way. Granger is excellent as the harassed young man innocently involved in murder. Ormonde hunkered down with Hitchcock's associate producer Barbara Keon—disparagingly called "Hitchcock's factotum" by Chandler[18]—and Alma Reville, Hitchcock's wife. [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. Fast, exciting, and woven with wicked style, this is one of Hitchcock's most efficient and ruthlessly delicious thrillers. 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. Some audience feedback arriving at Jack Warner's office condemned the film for its sordid story, while just as many others were favorable. "[21] Robert Burks received the film's sole Academy Award nomination for its black and white photography.[23]. Psycho rich girl Carol Lynley swaps murders with unwitting golfer Paul Burke. Bruno is rather a child. Once on the train, Bruno orders a pair of double drinks — "The only kind of doubles I play", he says charmingly. As Bruno dies, his fingers open to reveal Guy's lighter in his hand. TMDb The psychopath commits the first murder, then tries to force the tennis player to complete the bargain. "[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. "[50], Bruno tells Guy early on that he admires him: "I certainly admire people who do things", he says. [20] 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.[20]. "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. 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. [14] Talks with Dashiell Hammett got further,[12] but here too communications ultimately broke down, and Hammett never took the assignment. 1969 "Hitchcock told me that this scene was the most personally frightening moment for him in any of his films", writes biographer Charlotte Chandler. "[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. Next shot. In a conventional movie, the tune would play in the background as a clever ironic backdrop. He also showed intense interest in a seldom-considered detail of character delineation: Food. Guy tells the police of his suspicions. Guy tries to persuade Bruno to seek psychiatric help; Bruno threatens to make Guy pay for the crime from which he is benefiting. Read Next: ‘The Opening Act’ Review: Jimmy O. 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Guy humors Bruno by pretending to find his idea amusing, but is so eager to get away from Bruno that he leaves behind his engraved cigarette lighter, which Bruno keeps. But Hitchcock takes music to another level. Directed by Robert Sparr. This late 60's semi-remake of 'Strangers on a Train' utilises the same plot - strangers swapping murders - and transplants it onto the golf course. To amuse another guest, Bruno demonstrates how to strangle someone by playfully putting his hands around her neck. Golf isn't exciting, and no one wanting to watch a thriller will be jazzed to find out that the whole movie is at least as much about golf as it is about murder. By month's end, they were back in California. Hitchcock insists on perfection. His gaze falls upon Barbara, whose glasses and physical appearance resemble Miriam's. Strangers on a Train (1951) cast and crew credits, including actors, actresses, directors, writers and more. [57] All the major elements of the scene — the two men struggling, the accidentally shot attendant, the out-of-control merry-go-round, the crawling under the moving merry-go-round to disable it — are present in Crispin's account,[58] though he received no screen credit for it. 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. "Me, I never do anything important." ... 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. Gender swap remake of Strangers On a Train. It was shot in the autumn of 1950 and released by Warner Bros. on June 30, 1951. It follows her seduction of a golf pro at his country club, and the murders that ensue. [21] "Low-keyed, mild mannered", Burks was "a versatile risk-taker with a penchant for moody atmosphere.

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