Captions by John Barry. View this memorial on a map. This section lists the subjects commemorated on the memorial on this page: Hitchcock mosaics 12 - Strangers On a Train, This section lists the other memorials at the same location as the memorial on this page: Hitchcock mosaics 12 - Strangers On a Train, Show all Strangers On a Train, Based on a novel by Patricia Highsmith and co-scripted by Raymond Chandler, this is the story of the psychotic Bruno, brilliantly played by Robert Walker, who suggests exchanging murder victims with Guy, played by Farley Granger, a stranger that happens by chance to share the same train.
Guy had also made some unfortunate statements about Miriam after she had refused to divorce him. It all leads the police to believe Guy is responsible for the murder, forcing him to deal with Bruno's mad ravings. Now a very special Alfred Hitchcock event! A hundred and one breathless minutes of matchless suspense!
Crime Drama Film-Noir Thriller. Rated PG for some violence and tension. Did you know Edit. Trivia The final scene of the so-called "American" version of this movie had Barbara and Anne Morton waiting for Guy to call on the telephone.
Alfred 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 movie camera lenses made it difficult to get both phone and women in focus. So Hitchcock had an oversized phone constructed and placed in the foreground. Anne reaches for the big phone, but actually answers a regular one.
Hitchcock explained that "I did that on one take, by moving in on Anne so that the big phone went out of the frame as she reached for it. Then a grip put a normal-sized phone on the table, where she picked it up. Goofs When Bruno drops the lighter down the sewer, he tells the bystanders, he needs help retrieving his cigarette CASE. Perhaps Bruno thought it would sound more important if he said he'd dropped a case rather than a mere lighter.
Quotes Senator Morton : Dreadful. Alternate versions There are several differences in the British version of the film, including: 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.
Connections Edited into My Son John Ward Lyrics by John F. User reviews Review. Top review. One of his best. This is a little known Hitchcock movie but I think it is one of his best. I like how he inserts humor into this crime drama. For example the small boy pointing a gun at the Bruno character at the carnival and the Bruno character popping his balloon with a lit cigarette. And there is the comic scene at the tennis courts where the audience in unison moves there heads back and forth following the ball except for Bruno who glances straight away at the tennis player.
Hitchcock plays suspense masterfully as in the tunnel of love sequence early in the film. We spent a lot of time setting the screen in line with the camera lens. Anyway, for the carrousel breakdown we used a miniature blown up on a big screen and we put live people in front of the screen.
As I see it, the flaws of Strangers on a Train were the ineffectiveness of the two main actors and the weakness of the final script. Algebraic figures? In this kind of story the stronger the hero, the more effective the situation. Yet, since Granger was appealing in Rope and not particularly appealing in Strangers on a Train , I assumed this was intentional, that you meant him to be seen as an opportunistic playboy. There is a distinct impression that you preferred the villain.
Of course, no doubt about it. The cinematic logic is to follow the rules of suspense. There can be no argument about that. This is quite priceless. His son Sean Haworth brought them in for me to see when we were working on a film together years ago and I made copies.
As Guy Haines Farley Granger climbs down off the train, he nearly bumps into Hitchcock who is struggling slightly with a cello case. Courtesy of The Hitchcock Zone. Each short focused on one specific Hitchcock film. Patricia Hitchcock talks about Strangers on a Train. Bruno is the villain of the story and by way of shadows Hitchcock is able to remind us, aka the viewer, that he is a bad man. The contrast between the two characters is directly tied to the lighting they are given in each frame.
Bars are a recurring motif in the film. Bruno is continually associated with these bars. When Guy refuses Bruno is upset.
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