IMDb RATING
7.9/10
137K
YOUR RATING
A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder.A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder.A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder.
- Nominated for 1 Oscar
- 3 wins & 2 nominations total
Kasey Rogers
- Miriam Joyce Haines
- (as Laura Elliott)
Joel Allen
- Policeman
- (uncredited)
Murray Alper
- Boatman
- (uncredited)
Monya Andre
- Dowager
- (uncredited)
Benjie Bancroft
- Police Officer
- (uncredited)
Harry Baum
- Tennis Match Spectator
- (uncredited)
Brooks Benedict
- Tennis Umpire
- (uncredited)
Storyline
Did you know
- TriviaThe final scene of the so-called "American" version of this movie had Barbara and Anne Morton waiting for Guy to call on the telephone. Sir 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."
- GoofsWhen 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. Dreadful business. Poor unfortunate girl.
Barbara Morton: She was a tramp.
Senator Morton: She was a human being. Let me remind you that even the most unworthy of us has a right to life and the pursuit of happiness.
Barbara Morton: From what I hear she pursued it in all directions.
- Alternate versionsThere 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.
- ConnectionsEdited into My Son John (1952)
- SoundtracksThe Band Played On
(1895) (uncredited)
Music by Chas. B. Ward
Lyrics by John F. Palmer
Sung by Kasey Rogers, Tommy Farrell, Roland Morris and Robert Walker while riding the merry-go-round
Played often throughout the picture
Featured review
Walker's Movie
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.
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.
helpful•91
- JoeytheBrit
- Sep 21, 2010
Details
- Release date
- Country of origin
- Languages
- Also known as
- Alfred Hitchcock's 'Strangers on a Train'
- Filming locations
- Rowland V. Lee Ranch - Fallbrook Avenue, Canoga Park, Los Angeles, California, USA(merry-go-round at carnival scene)
- Production company
- See more company credits at IMDbPro
Box office
- Budget
- $1,200,000 (estimated)
- Gross US & Canada
- $26,597
- Gross worldwide
- $29,662
- Runtime1 hour 41 minutes
- Color
- Aspect ratio
- 1.37 : 1
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