There are two respectable and influential fathers, two women with eyeglasses, and two women at a party who delight in thinking up ways of committing the perfect crime.

Prepare for Carol and the mooted Tom Ripley TV series with this list of adaptations of the greatest crime writer…. Variety and the Flying V logos are trademarks of Variety Media, LLC. "[4], Warner Bros. wanted their own stars, already under contract, cast wherever possible. 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. 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. 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. [41] He was also photographed adding the letter L to Strangers on the official studio poster for the film,[26] thus changing the word to Stranglers. This ending, however, was not acceptable to Warner Bros.[28], In 1997, Warner released the film onto DVD as a double sided disc, with the "British" version on one side, and the "Hollywood" version on the reverse.

Decent remake of "Strangers on a Train" with tacky 60s trappings. "Holden would have been all wrong—too sturdy, too put off by Bruno", writes critic Roger Ebert. Guy goes to the Mortons' home, where Anne's father informs Guy that his wife has been murdered. "[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. Report this film.

She suggests to Jerry that they "swap" murders - she'll kill his golf rival and he'll reciprocate by killing her psychiatrist.

Film data from TMDb. [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 unusual angle was a more complex proposition than it seems.

"[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. American Film Institute listed the film as #32 in AFI's 100 Years...100 Thrills. He also showed intense interest in a seldom-considered detail of character delineation: Food. An early preview edit of the film, sometimes labeled the "British" version although it was never released in Britain or anywhere else, includes some scenes either not in, or else different from, the film as released. "The Band Played On" makes its final reprise during Guy's and Bruno's fight on the merry-go-round, even itself shifting to a faster tempo and higher pitch when the policeman's bullet hits the ride operator and sends the carousel into its frenzied hyper-drive. In Hitchcock's cameo he carries a double bass.

[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. Lynley serving off-kilter melodrama helps make some of the more contrived plot elements feel more consistent and lived in. [4] Hitchcock said that he originally wanted William Holden for the Guy Haines role,[5][6] but Holden declined. When Bruno arrives at the amusement park, a carnival worker recognizes him from the night of the murder; he informs the police, who mistakenly think he means Guy. Psycho rich girl Carol Lynley swaps murders with unwitting golfer Paul Burke.

It is those flaws that set up the real themes of Strangers.

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.

[67] According to biographer Charlotte Chandler (Lyn Erhard), Hitchcock himself did not like either the "British" or the "American" version: Hitchcock told [Chandler] that the picture should have ended with Guy at the amusement park after he has been cleared of murdering his wife. "[44], The film includes a number of puns and visual metaphors that demonstrate a running motif of crisscross, double-crossing, and crossing one's double. With cast nailed down, a script in hand, and a director of photography in tune with Hitchcock's vision on board, the company was ready to commence filming. "Preferences in food characterize people..." Hitchcock said. "[5], The two characters, Guy and Bruno, can be viewed as doppelgängers. "[21] While Guy and Bruno fight, the ride runs out of control until it tears itself to pieces, flinging wooden horses into the crowd of screaming mothers and squealing children. [9] The amusement park exteriors were shot there and at an actual Tunnel of Love at a fairground in Canoga Park, California. Jerry (Paul Burke) has acquired the nickname 'Second Place', but could be number 1 if something happened to his greatest rival. 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. Could have been a lot better, overlong and suffering from sometimes awkward scripting. Hitchcock had written exacting specifications for an amusement park, which was constructed on the ranch of director Rowland Lee in Chatsworth, California.

The U.S. Senate was busy investigating the suspicion that 'moral perverts' in the government were also undermining national security — going so far as to commission a study, Employment of Homosexuals and Other Sex Perverts in Government. Granger is excellent as the harassed young man innocently involved in murder. While aboard a train the next day, a stranger asks if he is Guy Haines and he and Anne move to other seats.

Remake of Hitchcock's STRANGERS ON A TRAIN (1951) with none of the tension, pacing or thrills.

Thinking Guy is trying to escape, a police officer shoots at him but instead kills the carousel operator, causing it to spin out of control. [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.

Genres:Thriller, Mystery. Anne's sister Barbara says that the police will think that Guy is the murderer since he has a motive.

"Me, I never do anything important." Anne visits Bruno's home and unsuccessfully tries to explain to his befuddled mother that her son is a murderer.

[6], David Keyes, writing at cinemaphile.org in 2002, saw the film as a seminal entry in its genre: "Aside from its very evident approach as a crowd-pleasing popcorn flick, the movie is one of the original shells for identity-inspired mystery thrillers, in which natural human behavior is the driving force behind the true macabre rather than supernatural elements. The pair has what writer Peter Dellolio refers to as a "dark symbiosis. Ebert wrote: Hitchcock was a classical technician in terms of controlling his visuals, and his use of screen space underlined the tension in ways the audience isn't always aware of. Burks was an exceptionally apt choice for what would prove to be Hitchcock's most Germanic film in years: the compositions dense, the lighting almost surreal, the optical effects demanding. "[61], More recent criticism is generally, though not universally, more positive.

The biggest problem? He got a treatment that pleased him on the second attempt, from writer Whitfield Cook, who wove a homoerotic subtext (only hinted at in the novel) into the story and softened Bruno from a coarse alcoholic into a dapper, charming mama's boy — a much more Hitchcockian villain. "[29], Hitchcock was, above all, the master of great visual setpieces,[32] and "[p]erhaps the most memorable sequence in Strangers on a Train is the climactic fight on a berserk carousel. "Hitchcock raced ahead of everyone: the script, the cast, the studio... pieces of the film were dancing like electrical charges in his brain. 1969 "[37] Bruno, who tells Guy on the train that he admires people "who do things", gets a more vigorous musical treatment from Tiomkin: "Harmonic complexity defines the motifs associated with Bruno: rumbling bass, shocking clusters, and glassy string harmonics. A very good choice for train food. This made-for-television remake of Alfred Hitchcock's "Strangers on a Train" (1951) follows the same story, but has changed the genders of the lead characters from male to female.

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