Strangers on a Train (1951)
This week, a look at a few of Hitchcock’s opening days.
Rebecca – Thursday, March 28, 1940 / Foreign Correspondent – Tuesday, August 27, 1940
Shadow of a Doubt – January 12, 1943 / Notorious – Thursday, August 15, 1946
Strangers On a Train – Tuesday, July 3, 1951 / Rear Window – Wednesday, August 4, 1954
Tuesday, May 15, 1956 / Vertigo – Wednesday, May 28, 1958 (with some vampire movie hogging the limelight)
North By Northwest – Thursday, August 6, 1959 / Psycho – Thursday, June 16, 1960
Unlike iTunes, a lot of the more obscure titles are only available for streaming rather than purchase, though the wide variety of films you don’t, and probably won’t see elsewhere makes up for that. Like iTunes there are some truly obscure films hidden away in the depths of Amazon’s vast collection of movies. Some of which have been made available in the UK for the first time since VHS and a Lot that have been added to the service in their original uncut form!
So, with that said here’s highlight some of the best (well,
Previously I'm actually a little bit surprised that you guys gave last week's Strangers on a Train competion
And here's a good one! 1951's Strangers on a Train offers up one of Hitch's greatest bad guys in Bruno Antony, murder theorist and gay icon, played with giddy panache by Robert Walker. And Farley Granger's no slouch as the clearly-enticed-no-matter-how-hard-he-pretends-otherwise tennis-pro Guy Haines.
Previously It's one of her greatest roles so I'm not surprised that Joan Crawford stampeded her way to a win with last week's Johnny Guitar contest - she
Elsewhere in "Kill It Forward," Kirsten, Cameron and Linus confront Ivy after finding proof that she ran the anomaly that almost killed her sister, but have they been wrong to trust her? And should Kirsten trust that Maggie will hold up her end of a deal she makes with her, to keep stitching in order to find out where the Nsa has taken her mother?
Strangers on a Train is an admirable demonstration of Alfred Hitchcock's virtuosity in the area of suspense dramas. Given an imaginative plot idea from which to build his shocker, Hitchcock proceeds in characteristic manner — using commonplace incidents and the long arm of coincidence as details by which he keeps the onlooker glued to his seat.
Curiously contrasted characters and locales play their parts in the Hitchcock strategy, making for an enormously entertaining show. Hitchcock generally avoids...
They Live by Night
The Criterion Collection 880
1948 / B&W / 1:37 flat Academy / 95 min. / available through The Criterion Collection / Street Date June 13, 2017 / 39.95
Starring: Cathy O’Donnell, Farley Granger, Howard Da Silva, Jay C. Flippen, Helen Craig, Will Wright, William Phipps, Ian Wolfe, Harry Harvey, Marie Bryant, Byron Foulger, Erskine Sanford .
Cinematography: George E. Diskant
Film Editor: Sherman Todd
Original Music: Leigh Harline
Written by Charles Schnee, Nicholas Ray from the novel Thieves Like Us by Edward Anderson
Produced by John Houseman
Directed by Nicholas Ray
The Lodger: A Story of the London Fog
The Criterion Collection 885
1927 / B&W + Color tints / 1:33 Silent Ap / 91 min. / available through The Criterion Collection / Street Date June 27, 2017 / 39.95
Starring: Ivor Novello, June Tripp, Marie Ault, Arthur Chesney, Malcolm Keen.
Cinematography: Gaetano di Ventimiglia
Film Editor + titles: Ivor Montagu
Assistant director: Alma Reville
Written by Eliot Stannard from the book by Marie Belloc Lowndes
Produced by Michael Balcon and Carlyle Blackwell
Directed by Alfred Hitchcock
Alfred Hitchcock became the most notable English film director for all the right reasons — he was talented and creative,
You might not know the name Chris Smith, but you’ll probably have seen at least one of his films. In 2004 he made the tube (even more?) terrifying with horror movie Creep, and a decade later he took on Father Christmas in the underrated Get Santa. With a varied filmography spanning horror, comedy, and historical action under his belt, Chris has gone stateside for his latest film – a neo-noir road trip movie starring Tye Sheridan, Emory Cohen and Bel Powley. We caught up with him for a quick chat about writing and directing Detour, and what he’s moving onto next.
Were there any films in particular that inspired the stylistic feel of Detour, and how much of the film did you visualise when working on the script?
That’s a very good question. In terms of the visual style, everything starts for me from the narrative style,
My Mother used to drop me off there on a Saturday or a summer weekday and I would spend the whole day reading. One of those days I pulled a book off the shelf called Hitchcock/Truffaut and sat down to read it. I knew who Alfred Hitchcock was from his television show, and from his monthly Mystery Magazine as well as anthologies that I was reading avidly, Tales That Frightened Even Me, More Tales for the Nervous and, my favorite, Stories to be Read After Dark.
I was aware that Alfred Hitchcock was most renowned for directing movies. I had seen a few on television, Saboteur was a mainstay on Kplr TV,
Amber Heard is teaming up with Polish auteur Agnieszka Holland. Heard will topline Holland’s upcoming crime thriller “The Kind Worth Killing,” Deadline reports. The feature hails from Chockstone Pictures and Nick Wechsler Productions.
“The Kind Worth Killing” is based on Peter Swanson’s 2015 novel of the same name, which has earned comparisons to Paula Hawkins’ “The Girl on the Train,” recently adapted into a movie starring Emily Blunt, and Patricia Highsmith’s classic “Strangers on a Train,” the source material for the 1951 Alfred Hitchcock film.
The novel centers on Lily, “a mysterious and stunning killer who meets Ted Severson on a late-night flight from London to Boston,” Deadline summarizes. “Ted confesses that he’s had thoughts about murdering his unfaithful wife. Lily offers to help, and the two form a strange, twisted bond while plotting his wife’s demise.”
“[I’m] really intrigued by this story. It’s full of paradoxes and I love paradoxes,” Holland has said of “The Kind Worth Killing.” “The main heroine is tough as steel, but also as fragile as glass. Is she a victim? A psychopath? An avenger? What a great role for a talented actress!” She continued, “The storyline is unpredictable, the genre feels fresh. A psychological thriller, which sometimes veers off towards black comedy, mixing humor with gore, genuine emotions with a detective mystery.”
Holland’s “In Darkness” was nominated for Best Foreign Language Film at the 2012 Oscars, and she received a nod in 1992 for her “Europa Europa” script, which she also directed. Her most recent film, “Spoor,” premiered at the Berlinale this year, where it won the Silver Bear. Holland has directed episodes of series such as “The Killing,” “Treme,” “House of Cards,” and “The Affair.”
Penned by Christopher Kyle (“Serena,” “Alexander”), “The Kind Worth Killing” is being produced by Wechsler, Paula Mae Schwartz, and Steve Schwartz.
Heard’s credits include “The Adderall Diaries,” “The Danish Girl,” and “Magic Mike Xxl.” She’ll play Mera, the Queen of Atlantis, in the highly anticipated “Justice League” movie, opening November 17.
Amber Heard to Star in Agnieszka Holland’s “The Kind Worth Killing” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
A comment to director Craig Johnson and screenwriter/graphic novelist Daniel Clowes on Laura Dern's tattoos for her character Pippi in Wilson, led us to Robert Crumb, Tony Danza, Van Halen, and Pippi Longstocking. Woody Harrelson is Wilson, Pippi's ex-husband, and they have a daughter, Claire (Isabella Amara). Judy Greer plays Shelly, Wilson's dog sitter for Pepper and Cheryl Hines was once his sister-in-law.
Craig Johnson: "I like that in the Laura Dern version, Pippi is just this freckly faced, smiling can-do girl." Photo: Anne-Katrin Titze
Not a shy man, Wilson likes to talk to all kinds of strangers. On an empty train, on the swing at the playground, in the men's room at an amusement park.
“Patricia Highsmith is Texas-born. A lot of people think she’s English, or from New York or something, but she’s Fort Worth born and bred.” Jason Cortlund, who along with Julia Halperin wrote and directed the SXSW narrative competition entry La Barracuda, is telling me about how the famed writer of The Talented Mr. Ripley and Strangers on a Train was an influence on the film’s screenplay. Indeed, Cortlund and Halperin’s engrossing Austin-set thriller evokes shades of those page-turning mysteries, albeit with a Texas-fried perspective that is entirely their own. La Barracuda is one of those films you can only hope to catch at a festival, an utterly new take on familiar conventions that leaves you with the unshakeable feeling that you have witnessed a breakout for all involved. You’ve seen the dysfunctional Texas family drama
Alfred Hitchcock’s Vertigo screens at St. Louis’ fabulous Hi-Pointe Theater this weekend as part of their Classic Film Series. It’s Saturday, March 11th at 10:30am at the Hi-Pointe located at 1005 McCausland Ave., St. Louis, Mo 63117. The film will be introduced by Harry Hamm, movie reviewer for Kmox. Admission is only $5
This gives us a perfect excuse to re-run this top ten list so here, according to We Are Movie Geeks, are Alfred Hitchcock’s ten best films:
Frenzy, Hitchcock’s next to last feature film from 1972, represented a homecoming of sorts since it was the first film completely shot in his native England since his silents and early ” talkies ” in the 1930’s. By dipping into the then somewhat new territory of serial killers, he took full advantage of the new cinema freedoms and truly earned his ‘ R ‘ MPAA rating.
Pitched as North by Northwest meets Strangers on a Train, Jaume Collet-Serra’s high-speed thriller was originally slated for a release in October, but we now have confirmation that The Commuter‘s journey won’t begin in earnest until January 12th, 2018. That’s a date it currently shares with Paramount’s animated flick Sherlock Gnomes, White Boy Rick and The Maze Runner: The Death Cure, which was hit with a delay of its own following Dylan O’Brien’s serious set accident.
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