Strangers on a Train

When it comes to Cinema's hall of fame of screen villains Robert Walker's Bruno Anthony has to rank up there with the best of them. Outwardly harmless, he possesses the twisted psyche of a spoiled mummy's boy who is all too willing to resort to murder to get his own way (sounds a little like Norman Bates, doesn't it?).

Walker graces the role with sly hints of effeminacy that hint at his character's sexual orientation, something that in 1951 would have contributed to the overall impression of louche decadence. And what a loathsome creature he truly is, almost toadying towards tennis player Guy Haines as he ingratiates his way into the hapless athlete's life only to turn it upside down with his diabolical 'criss-cross' plan. To be fair, Haines is a tailor-made victim, and the passive indecision of his character is perhaps the film's biggest flaw. As others have no doubt noted, Haines would only need have gone to the police to sort everything out because Bruno's suave mask is clearly as fragile as an eggshell, and even a novice interrogator would quickly determine that something's not right about him.

As murder plots go, it's not a bad idea – apart from the unlikelihood of two like-minded strangers meeting, discussing and then agreeing to such a plot in the first place. Bruno takes the vaguest of affirmations – distractedly delivered by Haines to shake him off – as confirmation that his plan is a goer and promptly murders Haine's estranged wife in a justifiably famous fairground murder scene.

The psychological subtext is laid on pretty thick for an early fifties film, making it a piece of work that rewards repeated viewings. Walker's character grows increasingly menacing as the film progresses, not through any changes of attitude or manner on his part, but because of what the audience learns about him as the story unfolds. For the most part, however, his role in the film is simply as a villainous foil for the clear-cut Haines, which is a shame as it would have been interesting to see just how Bruno became as twisted as he was. Nevertheless, Strangers on a Train deserves the classic status it enjoys, and is worth a couple of hours of anybody's time.

Usually, it is the other way around, but in this case, the movie is a major improvement over the original book.

I had seen this wonderful movie at least a dozen times, before I managed to find a copy of the book it was taken from....the book has the same title and was written by Patricia Highsmith.

I scoured the used bookstores for years, before I finally found a copy, and because the movie was SO good, I could not wait to begin reading the story in its original version.

I was never so disappointed!

Not because the book is unreadable...but because Hitchcock made such vast improvements over the book that the book simply does not come close to measuring up to the movie version.

That said, let me now comment on Robert Walker's amazing performance as Bruno Antony.

This was Robert Walker's last completed performance...he died while shooting his final film, "My Son John," in August, 1951.

This role as Bruno was the performance of his career!

Perfect in every way.

The movie has been around now for nearly half a century. I see it every time it is shown on television, and I also watch the tape I have of it occasionally.

Robert Walker's performance only seems to improve with each new viewing.

I can not recommend this movie highly enough.

If Hitchcock and Robert Walker can read me, up there in heaven, let me congratulate them both on an absolutely superlative job!

Bruno Antony randomly encounters tennis star Guy Haines on a train, after a while in each other's company, Bruno details a plan for murder, for the pair to carry out killings for each other, thus drawing suspicion and focus away from themselves.

I get why this is regarded as a classic for many fans, and rightly so, I thoroughly enjoyed it, I wouldn't perhaps put it up there with the likes of Rear Window, Vertigo and The Birds, but it's still an excellent film.

It is full of suspense, it's clever, and it presents us with a tantalising, ingenious murder device, two strangers with zero apparent motive, committing the perfect crimes. I see the ending has gotten criticism of some fans, personally I quite liked it.

Robert Walker delivers an extraordinary performance, the whole cast are great, but his chilling, relentless doggedness is the key to the film's success, he has some presence on screen. Granger is also excellent.

Impressive visuals, the tennis scenes in particular look great, and good to see that Farley Granger Granger can actually play tennis, it's very rarely the case with films and TV shows.

8/10.

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 know that Bruno plans to murder the woman and we 'see' that is why he is following her into the tunnel. We hear a scream and think the deed is done when voila! the girl comes sailing out with her two admirers. Then there is one of the finest scenes in all movie history: the final scene on the carousel. Hitchcock manages suspense on many non-stop levels: the two protagonists fighting each other, a small boy who nearly falls from the ride as it whirls at tremendous speed, and the elderly man who crawls beneath the carousel to try and get at the brakes. Although I think the end of the scene was a bit over the top it was masterful to that point and I will never forget it.

I was surprised to see Ruth Roman in the lead. Usually Hitchcock has blondes for his leads, but the commentator on the TMC channel told us Hitch had to use her because she was under contract to the studio where he filmed it.

I highly recommend this obscure Hitchcock masterpiece and give 9.99 out of 10.

One would have expected Hitchcock's return to major studio filmmaking to err on the side of chastened caution. Surely few expected his most riotous, unrestrained film, a gleeful melange of vicious black comedy, exciting suspense, mocking manipulation, and astonishing flights of fancy. But that is precisely what they got: STRANGERS ON A TRAIN.

What is remarkable is how much Bruno's transgression disrupts the world of the film. Much has been made of the masterly crosscutting motif, but its immediate effect is to completely obstruct the straight line of progress Guy is making of his life, and hence the society he represents or is eager to join. Guy is the archetypal American, the working-class boy made good, moving in influential circles, athletic, successful, handsome. Bruno is his destructive opposite, gay, decadent, 'European' (he lives off his father, in a Big House, and just lounges about dreaming of murder). Bruno's life is one of repetition, circularity, whereas Guy moves straight ahead. It is Bruno's achievement to move Guy into his realm (represented by the merry-go-round) and force HIM to transgress (break the law, hope for murder (Bruno's)).

Bruno is quite literally fighting patriarchy. All the authority figures in the film are criticised - Bruno's father, a man whose brutality we get a glimpse of, but the true horror of which is constantly alluded to in the film (especially in Aunt Clara's paintings - that incredibly intense negative energy must come from somewhere); Anna's incredibly Machiavellian, self-serving father; the insensitive judge who thinks nothing of lunching after an execution; the tennis commentator whose smugly authorative comments are always mistaken. Far from being the mother-hater of legend, Hitch, as Robin Wood perceived, is deeply hostile to fathers and patriarchy.

Bruno's transgression turns the world topsy-turvy. This is Hitch's most surreal film. Whenever Guy is in his plot, he is filmed straight, with conventionally romantic music. But whenever Bruno intrudes, the atmosphere becomes carnivalesque, bizarre, much more fun. This is Hitch's first truly American film, revelling in the primitive detritus of Americana. Grown men puncture little boys' balloons, or try to throw them off merry-go-rounds. Distinguished professors of mathematics sing about goats on trains. Elderly society matrons are strangled at elegant soirees. Washington is filmed like a series of spare lines in a vast desert under a huge sky, like a haunting Dali painting. There is one of the greatest, and funniest, scenes in all cinema when we see a motionless, smiling Bruno in a sea of turning heads at a tennis match, an image worthy of Magritte. Just look at any scene with Bruno in it, and watch it derail into the bizarre.

Phalluses abound in the most ridiculous permutations - check all those balloons (Hitch had obviously just seen THE THIRD MAN) - as well as in more staid environs: Washington will never look the same again. STRANGERS is also, VERTIGO notwithstanding, Hitch's most overtly sexual film - as well as the phalluses, there is the sustained homoeroticism, the remarkable play with 'riding' horses; the gobsmacking fellatio joke when Hitch's daughter spills powder over the policeman.

And yet Hitch doesn't stint on good old suspense. In the very proper endeavour to show what a great artist he was, critics tend to overlook what made him famous in the first place. Much has been made of Bruno as a prototype of Norman Bates, and Hitch plays merry havoc on audience identification, willing Bruno into murder. There is a hilariously painful sequence where Bruno loses the lighter with which he intends to frame Guy down a drain. The gasps of tension and sighs of relief on the part of the audience I was a part of in support of an insane murderer is inherently funny, slightly disturbing, and highly revealing about our true reactions to conformity and success. And Hitch milks it with callous glee - listen to the mocking music and exagerrated compositions, and kick yourself for taking it all so seriously.

STRANGERS is one of Hitch's five best films, and therefore one of the greatest things in cinema. The dialogue is so strange and brilliant, I can't believe it wasn't written by Chandler. Patricia Hitchcock is a wonderful imp, standing in for her cheeky father as she taunts Guy. The fairground finale is a remarkable, dizzying fusion of exciting, tense set-piece, black comedy and symbolic site. If Bruno's final words condemn him to hell (according to the Catholic precepts Hitch is supposed to embody: compare with a similar ending in THE KILLERS), we applaud his integrity, infinitely preferable to Guy's debased serving of self.