Strangers on a Train (1951) User Reviews

A stunning thriller from the master of suspense

[The_Void · 8/10 · 16 September 2004]

Alfred Hitchcock has made many brilliant thrillers, and many of them have gone on to be hailed as some of the greatest films of all time. One film that tends to get somewhat lost under the Vertigo's and the Psycho's is this film; Strangers on a Train, the most compelling film that Hitchcock ever made. The story follows Guy Haines, a tennis player and a man soon to be wed to the Senator's daughter, if he can get a divorce from his current wife. One day, on the way to see his wife, he meets the mentally unstable Bruno Anthony aboard a train and soon gets drawn into a murder plot that he can neither stop nor stall; and one that could ultimately cost him his life.

The conversation aboard the train between Bruno and Guy is one of the cinema's most intriguing and thought provoking of all time. What if two people "swapped" murders, thus resolving themselves of all suspicion of the crime, and rendering their motive irrelevant? Could this truly be the perfect murder? What makes this film all the more frightening is that the events that Guy is lead into could happen to any, normal everyday person. Everyone has someone they'd like to get rid of, so what if you met an insane man aboard a train that does your murder for you and then forces you to do his? The chances of it happening are unlikely, but it's the idea that anyone could be a murderer that is central to the message of Strangers on a Train; and in this situation, anyone could.

Is there any actor on earth that could have portrayed the character of Bruno Anthony any better than Robert Walker? The man was simply born for the part. He manages to capture just the right mood for his character and absolutely commands every scene he is in. The character of Bruno is a madman, but he's not a lunatic; he's a calculating, conniving human being and Robert Walker makes the character believable. His performance is extremely malevolent, and yet understated enough to keep the character firmly within the realms of reality. Unfortunately, Robert Walker died just one year after the release of Strangers on a Train, and I believe that is a great loss to cinema. Nobody in the cast shines as much as Walker does, but worth mentioning is his co-star Farley Granger. Granger never really impresses that much, but his performance is good enough and he holds his own against Walker. Also notable about his performance is that he portrays his character as a very normal person; and that is how it should be. Ruth Roman is Guy's wife to be. She isn't really in the film enough to make a lasting impression, but she makes the best of what she has. Alfred Hitchcock's daughter, Patricia, takes the final role of the four central roles as Barbara, the sister of Guy's fiancé. She is suitably lovely in this role, and she tends to steal a lot of the scenes that she is in.

Alfred Hitchcock's direction is always sublime, and it is very much so in this film. There is one shot in particular, that sees the murder of the film being committed in the reflection of a pair of sunglasses. This is an absolutely brilliant shot, and one that creates a great atmosphere for the scene. Hitchcock's direction is moody throughout, and very much complies with the film noir style. The climax to the film is both spectacular and exciting, and I don't think that anyone but Hitchcock could have pulled it off to the great effect that it was shown in this film. It's truly overblown, and out of turn from the rest of the movie; but it works. There is a reason that Hitchcock is often cited as the greatest director of all time, and the reason for that is that he doesn't only use the script to tell the film's story, but he also uses to camera to do so as well. Strangers on a Train is one of the greatest thrillers ever made. Its story is both intriguing and thought provoking, and is sure to delight any fan of cinema. A masterpiece.

It's 'all change' for the final act.

[BA_Harrison · 7/10 · 25 August 2013]

Strangers on a Train boasts a neat central idea (the 'swapping' of murders), several classic Hitchcockian moments, and a fine performance from Robert Walker as psychotic socialite Bruno; but despite these admirable qualities the film fails to qualify as a complete success thanks to a severely flawed final act that makes one wonder what the hell Hitch was thinking.

Farley Granger's tennis-pro Guy Haines being coerced into discussing murder by charismatic lunatic Bruno—all well and good. The nutter carrying out his side of the plan as discussed—great stuff. Haines afraid to go to the police for fear of being implicated in a murderous pact with a clearly deranged Bruno—hey, why not? People don't always make the wisest of decisions when under pressure.

The whole ridiculous fairground finale, however, cannot be so easily brushed aside. Bruno develops telescopic arms, the police act like bumbling trigger-happy fools, and a merry-go-round achieves warp-speed before a toothless old guy confuses a self-destruct lever for the brake. It's like something out of a fever-dream—illogical, perplexing and utterly deranged—a dreadful way to end what was proving to be a very enjoyable thriller.

6.5 out of 10, rounded up to 7 for IMDb.

Walker's Movie

[JoeytheBrit · 8/10 · 21 September 2010]

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.

Amazing performance by Robert Walker

[MovieAddict2016 · 10/10 · 4 July 2006]

"Strangers on a Train" was one of those film classics I had always heard about but somehow never gotten around to actually seeing. I finally watched it a few weeks ago and, as always with any Hitchcock movie, it not only stood up to the test of time, it far surpassed most thrillers being made today. You can see the inspiration for future action movies here - the climactic ending with the out-of-control merry-go-round and the two villains dueling each other reminded me of the big action sequence at the end of Jan de Bont's "Speed." Of course, "Strangers" is over forty years older than "Speed" and contains no modern special effects, but the visceral thrill is there - Hitchcock was a true genius.

The not-so-subtle gay side of Bruno (Robert Walker in an amazing performance) has taken form in many other psycho-stalker-figures in future movies. Consider him a male version of Jennifer Jason Leigh in "Single White Female." He knows about Guy before he even meets him on the train - we almost get the feeling their contact isn't incidental - and is soon entirely obsessed with him.

Hitchcock loved the Oedipial elements in his movies (also see "Psycho" for more blatant undertones) and there's a lot of that here. Bruno hates his father and wants him to die so he can be with his mother. His effeminate ways and obvious homosexuality must have just slipped by the censors in 1951, when gays were not "allowed" to be portrayed on the screen - yet Hitchcock gets the message through effectively when we see Bruno in the lounge on the telephone wearing a very non-masculine robe, flirting with Guy and responding to his mother.

The deep layers of this movie make it a fast-paced thriller than you can return to again and again - unfortunately it's being remade as a big-budget Hollywood production, but after seeing the original I honestly can't imagine anything surpassing the sheer white-knuckle thrills of this movie.

Another great mystery from The Master of Suspense.

[Sleepin_Dragon · 8/10 · 17 September 2023]

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.

Still A Memorable Movie

[ccthemovieman-1 · 8/10 · 16 August 2006]

Even though some unrealistic things happen at the end (i.e. a cop shooting a gun into a crowded merry-go-round where any number of innocent could be killed), this still was an intense, enjoyable thriller, one of Alfred Hitchcock's better films. Robert Walker is excellent as the chilling nutcase, really convincing giving a fascinating performance that is almost too creepy at times. His co-star in here, Farley Granger, is okay but is no match for Walker, either in acting or in the characters they play. It's the typical Hitchcock film with some strange camera angles, immoral themes, innocent man gets in trouble, etc. Unlike a lot of his other films, I thought this one was a fast-moving story with a very few dull spots. Being an ex-tennis player, I enjoyed his footage of some excellent old net matches that featured some good rallies. Hitchcock's real-life daughter Patricia has an interesting and unique minor character role in here. She didn't just get the job because of her dad; she can act. Also of note: the DVD has both the British and American versions and there were some differences in the story. This is a classic film that is still referred to in modern-day films, even comedies such as "Throw Momma Off The Train."

One of Hitchcock's finest achievements

[ametaphysicalshark · 15 August 2006]

"Strangers on a Train" is a brilliant example of what Hitchcock could do best, continually develop his plot and characters in an atmosphere both creepy and humorous. The film has great dialogue, superb characters, good acting, and naturally superb direction from the master of suspense who is truly at his best here. Robert Walker's Bruno Anthony is a character few will forget; he is creepy, psychopathic, and as M. Night Shyamalan says on one of the DVD's special features it is the fact that he has moral standards, however unconventional and disturbed they may be, that makes him such a dangerous man.

Strangers is a truly involving film, one that takes you on a ride you won't forget anytime soon, it has one of the best examples of buildup you could find on film, and as soon as it ends the film takes you on a journey that entertains and terrifies and even makes you laugh. This is a truly brilliant example of film-making, every shot is drenched in suspense, every cut is masterful, every detail important, every second exciting, it never lets go till the very end, and what an ending that is, a delicious bit of humor that is perfectly in tone with the rest of this delightful masterpiece.

Some have criticized Farley Granger's performance as Guy Haines, but it really is quite perfect; he delivered all his lines well and makes us feel honestly sympathetic towards him. Robert Walker is simply genius as Bruno Anthony, a great character that wouldn't have been nearly as memorable without Robert Walker's devilishly evil portrayal of him. The supporting cast are good, Ruth Roman, Leo G. Carroll, Kasey Rogers, Howard St. John and Patricia Hitchcock all deliver good performances that enhance what was already a good film and make it a great film. Alfred Hitchcock's direction is, as always, sublime.

What makes "Strangers" so good is the simple plot. It isn't a complicated story, two strangers meet on a train, and one comes up with a crazy plot: "You do my murder, I do yours." One takes it as a joke and shrugs it off, but the other takes himself seriously and goes on to commit the murder he offered to, getting the 'good guy' into huge trouble. The script is adapted superbly well by Whitfield Cook from a novel by Patricia Highsmith.

This is really one of Hitchcock's most interesting films from a technical perspective while also providing more than enough laughs, suspense, and thrills to keep just about anybody engaged.

10/10

Magnificent absurdist fantasy.

[alice liddell · 10/10 · 29 September 1999]

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.

Splendid and nail-biting thriller from Alfred Hitchcock

[TheLittleSongbird · 10/10 · 26 April 2010]

Alfred Hitchcock is my all time favourite director, his films are full of his fashioned touches and masterful technique, a vast majority of them are compelling from start to finish. Strangers on a Train is one of those compelling films, even though Hitchcock clashed with the script writer several times and was underwhelmed by Farley Granger's lead performance, it is still a gripping movie. For one thing it is very well made, the cinematography is crisp and beautiful and the setting is authentic. Also helping add to the nail-biting atmosphere is the outstanding music score, while sometimes romantic it is also haunting and tense. Then we have a very good screenplay, superb direction from Hitchcock and two particularly brilliant scenes at the fairground(the second being the better one in my opinion). The acting is stellar, while I found Farley Granger dull in Rope, this dullness works for his tennis-champion character and it was an understated performance I really liked. Ruth Roman and Patricia Hitchcock are alluring and convincing in their roles, and Leo G.Carroll is memorable as Senator Morton. Robert Walker is absolutely amazing as Bruno though, he is eccentric, cold-hearted, smooth-talking and very chilling. Overall, a splendid nail-biter, a definite winner from Hitch. 10/10 Bethany Cox

I know its a little weird that I broke into your house in the middle of the night, but I am only here to tell you that your own son is an absolute lunatic. And I have a gun

[maxbinnewies · 7/10 · 2 November 2013]

Overall Strangers on a train is a good movie, with amazing cinematography, suspense and a good plot. Obviously it is a classic, which might be the reason why reviews here are so overly positive. Brunos character is well thought and acted out. The rest of the characters are a little flat and react as you would expect them to for most of the film. Yes, the tennis scene might be a little long, but then again the film was made a long time ago. By then films had longer shots and scene, a slower pace, no cgi and in general less graphic detail. So for its time, I believe the tennis scene is brilliant at building suspense.

But what really is the big big flaw of strangers on a train, is that there continue to be scenes that don't seem to make any sense whatsoever and are quite disturbing to watch. Most people here didn't seem to notice that, though:

-It already starts off a bit shaky(but still relatively OK compared to what is still to come) when Bruno kills the wife. For some reason he chooses a carnival as the crime scene. Lots of people, light and not exactly great for an escape. He doesn't seem to mind following her the whole time, by which point her company must have noticed him and would be great witnesses. Although his escape by boat may seem a little inconvenient, he is lucky and nobody seems to mind that he just boats back from the island where people are yelling for help and he can just walk away from the crime scene.

-So then Bruno(being a crazy sob) nearly strangles another woman to death at a party. However, in a social group where just days a ago a woman was strangled to death, again nobody really seems to mind this coincidence and Bruno is not a suspect.

-Then Bruno pushes Guy to kill his father, so Guy breaks into the house. But then as sort of the twist, Guy is not there to actually kill him, but just to talk to him. At this point it really stops to make any sense. Why would he break into his house in the middle of the night and sneak around just to tell him that, instead of calling him first like a normal person? Why on earth would he bring a gun?!

-But... the father is not there and instead its one of Brunos traps. So, what is Guys first reaction? He puts the gun right next to the crazy person and actually tells him that he is crazy and will probably go to jail. Luckily Bruno is very concerned about mother, so Guy doesn't get shot.

-However, the showdown really takes the cake! The (trained) police men decide to open fire on the merry-go-round(you know, the fast moving thing with all the kids(!) on it) and kill the operator. So, naturally the merry-go-round turns into a killer machine and the little kids ride starts operating at highway speeds. Next a crazy old dude crawls under the merry-go-round as the only hope of stopping this monster machine, because there simply seems to be no other way to turn it off. By this point we are already in far too deep and returning to sanity would be a little confusing. So the next logical step is ... of course... an exploding merry-go-round!! The villain dies tragically and Guy is again the good straight-up guy. Not exactly much of an ending.

Overall, a good film with a lot of very big flaws. I was a little disappointed at times.

Criss-Cross

[bkoganbing · 9/10 · 8 February 2007]

In Strangers On A Train, it's obvious from the start that playboy wastrel Robert Walker has singled out Farley Granger as an unwilling accomplice to a pair of murders. Granger's a semi-public figure, he's a tennis pro, but not an especially high one. High enough however for him to know that Granger is trapped in a loveless marriage and would like to be free to marry Ruth Roman.

So when they meet as complete Strangers On A Train one afternoon, Walker knows enough that Granger will at least be intrigued enough with the possibility that if the two of them, complete strangers, did commit homicide on parties that the other would be convenienced by their demise. Though Granger is repulsed by the idea, one of the beautiful things about this film, is that you can see in the performance he gives that Granger just might submit to temptation.

In fact when Walker kills Laura Elliot, Granger's wife whose been two timing him and even gotten pregnant by another man, he expects that Granger will in turn murder Walker's father so that Walker can inherit his estate. Today Walker would be called a trust fund baby and a pretty malevolent one at that.

Alfred Hitchcock directed Walker to his career role, ironically in his last complete film. Walker died the following year with most of My Son John finished. Hitchcock does not do too bad by Farley Granger either.

Of course when Granger does balk at committing homicide on people who never did anything to him, the tension. Strangers On A Train is also characterized by great editing, first in the tennis match in which Granger has to finish the match and waylay Walker before he plants evidence convicting Granger at the crime scene. And also in that final climax with a fight on a runaway carousel between Walker and Granger.

Strangers On A Train is Hitchcock at his best, it should not be missed and ought to be required viewing when film classes study editing.

Very good Hitch film about a tennis champion who becomes involved with psychopath in exchange killings

[ma-cortes · 8/10 · 24 December 2011]

Top-notch Hitch film dealing with a girl in love with young America's idol , a Tennis star named Guy Haines who becomes involved with a good-looking stranger , Bruno Anthony, in search of sensation that's how it all began..! Warner Bros bring a pounding new tempo to motion picture entertainment. A psychotic socialite (Robert Walker as unforgettable psycho) confronts a pro tennis star (Farley Granger) with a theory on how two complete strangers can get away with murder...a theory that he plans to implement . Guy Haines meets a stranger on the Washington-to-New York train who offers to exchange murders. The stranger will kill Guy's estranged wife if Guy will murder Bruno's hated father. Guy doesn't take Bruno seriously until his spouse , Miriam (Laura Elliott), is found killed in an amusement park . Guy becomes the chief suspect, which threatens his tennis career and his romantic involvement with a U. S. senator (Leo G. Carroll)'s daughter (Ruth Roman) .

Hitchcock first visited Hollywood in 1940, but was turned down by virtually all major motion picture studios because they thought he could not make a "Hollywood" picture. He was finally offered a seven-year directing contract by producer David O. Selznick. His first project was supposed to be a film about the Titanic, but Selznick scrapped the project because he "couldn't find a boat to sink." Selznick assigned Hitch to direct Rebeca (1940) instead, which later won the Best Picture Oscar . Later on , Hitchcock shot ¨Strangers on a train¨.

Tense/suspense/mystery abounds in this thriller from Hithcock who combines the elements of intrigue with romance, drama and action . Thrilling and interesting screenplay based on a Patricia Highsmith novel and co-scripted by novelist Raymond Chandler and uncredited the prestigious Ben Hecht . Robert Walker and Farley Granger give their finest acting as psychopath and tennis star respectively . Hitchock married Alma Reville , usually screenwriter ,and had one daughter, Patricia Hitchcock, who appeared in several of his movies: Stage fright (1950), and Psicosis (1960) and Strangers on the train where she plays splendidly the distrusted sister .Frequent collaborator the director of photography Robert Burks creates a stunning cinematography . Suspenseful and atmospheric original music by the classic Dimitri Tiomkin.

Hitchcock often used the ¨false guilty¨ or "wrong man" or "mistaken identity" theme in his movies Sabotage (1942), I confess (1953), Wrong man (1956), North by Northwest (1959), Frenesí (1972) and of course Stranger on a train . In a lot of his films -more noticeably in the early black and white American films-, he used to create more shadows on the walls to create suspense and tension . Hitch hated to shoot on location , he preferred to shoot at the studio where he could have full control of lighting and other factors. Rating : Above average , well worth watching . This good thriller by the master himself, who preys on the senses and keeps the suspense at feverish pitch . Worthwhile seeing thanks some Hitch's touches .

Hitchcock suspense drama has great style but lots of dross...

[moonspinner55 · 6/10 · 22 June 2005]

Robert Walker admirably goes all out as a psychotic daddy-hater who befriends tennis pro Farley Granger and discovers the rather naive young man hates his estranged wife; Walker suggests swapping murders. Lots of intricate plotting in the set-up, but this Alfred Hitchcock thriller is relieved of tension by its banalities, such as the vapid dialogue, an overlong tennis sequence near the finale, and silly situations like the one where Walker "cleverly" winds up in his father's bed when Granger arrives. The frenzied finale plays well, but with some afterthought you may notice how emotionally hollow it is, what with an innocent, elderly carnival worker getting shot dead by the police (!) and nobody seems to care. Flamboyant, if over-the-top, performances, a great deal of style in the usual Alfred Hitchcock fashion, but not much substance. **1/2 from ****

"We planned it together, criss-cross."

[classicsoncall · 6/10 · 1 November 2006]

The film has a highly intriguing premise, and for about half the film it works. However by the time it should really be getting interesting, elements slip in that defy credibility and work against any semblance of achieving a satisfying conclusion. Probably the most imposing of these is the resemblance of Anne Morton's (Ruth Roman) sister (portrayed by Hitchcock's daughter Patricia) to murder victim Miriam. It comes in handy for putting Bruno (Robert Walker) into a trance at the party as he recreates the strangling, but gee!, why didn't anyone figure out he was a nut case right then and there?

Anne Morton attempts to convince Mrs. Anthony that her son might be a murderer - did she really think she could make an impression with that argument? Same story when Bruno tells Anne he's going to place the cigarette lighter back at the scene of the crime. The criminal mastermind didn't really have to signal his intention, did he? And why was it so important to return it at night? The best though was when Bruno asked the amusement park guy "What time does it get dark around here?" It reminded me of a 'Candid Camera' situation where they asked people on the street 'What time is it?' and someone answered, 'I don't know, I'm not from around here.'

It's too bad Bruno didn't follow up with the tactic of planting a seed of doubt with Anne, by putting the finger on her boyfriend Guy (Robert Walker) as the killer. Had the film explored that avenue, I believe there could have been a more suspenseful resolution. Instead, we have an innocent bystander killed by the cops (the merry go round operator), and no one really seems to notice. It should be so easy in real life, a cigarette lighter falls from a dead man's hand and it lets the suspected murderer off the hook, no questions asked, just like that, amen.

At least Hitch himself isn't hard to spot in this one; he's getting on the train when Haines gets off. As for Robert Walker, I thought he had the perfect "Twilight Zone" face, it's too bad he passed away a year after the film came out.

I'd like to be more positive about "Strangers On A Train", but the story didn't really do it for me. Even as entertainment, I tend to view what's happening in a film with a critical eye to see if it passes a credibility test. This one didn't, and it's too bad, as it could have been a much more effective tune up for Hitchcock's later master work - "Psycho".

This film didn't meet my expectations... it exceeded them

[charbelelaro · 9/10 · 2 April 2019]

Strangers on a Train directed by Alfred Hitchcock is a crime drama, which follows a tennis star who is recognised by a stranger. Their compelling conversation on the train is followed by a series of deranged events, which immensely torments the tennis star, unexpectedly placing him on the cusp of crime. Going into this film I was expecting great things. Although this film didn't meet my expectations... it exceeded them. Where can I start. The performances are all outstanding. The black and white cinematography is creative, expressive and beautifully artistic. This film contains sequences which are so thrilling, I was genuinely invested, due to how well they hold up. I particularly loved the subtle visual imagery and symbolism which enforces a major concept explored in the film. Strangers on a Train has you invested for the entire runtime. The script is so riveting, as it explores a range of tones without ever slowing down. Many individuals today refuse to see films which are black and white, believing that they are not entertaining. Strangers on a Train rebukes that misconception on every level. This film is an incredible film making achievement so therefore I give it a 9.

One of the Best Alfred Hitchcock's Movies Ever Made

[claudio_carvalho · 10/10 · 11 August 2003]

Guy Haines (Farley Granger) is a famous tennis player who occasionally meets Bruno Anthony (Robert Walker) during a travel by train. Guy is divorcing his wife Miriam and intends to marry with Anne Morton (Ruth Roman), the daughter of Senator Morton (Leo G. Carroll). Bruno proposes Guy to trade places in a murder: he would kill Miriam, and Guy would kill his father. This would be the perfect crime, with no suspects with motives for the murder. This film is still a masterpiece: both the British Version and the American Version (with a laconic end) are excellent. The B&W photography is marvelous. One of the best Hitchcock's movies ever made. My vote is ten.

Title (Brazil): "Pacto Sinistro" ("Sinister Pact")

First rate Hitchcock.

[Hey_Sweden · 10/10 · 22 January 2017]

One day, two men are traveling by train. Guy Haines (Farley Granger) is a young tennis star and Bruno Antony (Robert Walker) is a socialite. A very *disturbed* socialite. Bruno stubbornly tries to get Guy to agree to an "arrangement". Both men have people in their lives whom they could easily do without. With Guy, it's his promiscuous, mercurial wife Miriam (Kasey Rogers). With Bruno, it's his domineering father (Jonathan Hale). So what Bruno proposes is simple: he will murder Miriam while Guy while murder Mr. Antony. Guy, being a basically decent person, will have none of this, but finds it exceedingly difficult to extract this persistent creep from his life.

Alfred Hitchcock works wonders with the ingenious source material, Patricia Highsmiths' novel, which was adapted by Whitfield Cook and scripted by Raymond Chandler and Czenzi Ormonde. His mastery of film is evident with some really neat visual tricks, and of course his handling of key suspense sequences. There's one in the Antony family mansion, and a major set piece four fifths of the way through as Hitch cuts between strenuous efforts to retrieve a lighter and Guy's fevered attempts to win as many games as quickly as possible. The finale is also incredibly exciting and memorable, as it takes place on an out of control merry-go- round. Absolutely no time is wasted, as Guy and Bruno meet within the films' opening minutes and it doesn't take Bruno long to propose his scheme to the understandably miffed younger man.

The cast is very good all the way down the line. Granger is a typically personable lead, and there's fine support by Ruth Roman as a loyal girlfriend, Leo G. Carroll as her senator father, Hitchs' daughter Patricia as her perky younger sister, the amusing Marion Lorne as Brunos' doting mother, John Brown as a drunken "witness", and Howard St. John, Robert Gist, and John Doucette as various cops. The sadly short lived Walker easily dominates the story, though, and he does a *superb* job. Keep your eyes pealed for the standard Hitch cameo about ten and a half minutes into the film.

Top notch filmmaking and storytelling; this is truly one of the all time great Hollywood thrillers. The premise was later exploited for comedic value in "Throw Momma from the Train".

10 out of 10.

A truly exceptional film...with one glaring problem.

[planktonrules · 9/10 · 13 August 2010]

Don't get me wrong, I love and respect this film and it's among Alfred Hitchcock's best films. Yet, I still cannot see it as a perfect film because there is one glaring problem. Any NORMAL person would soon go to the police if they were in Farley Granger's situation...and not try to fix everything themselves or hope the problem would go away on its own. And, any suspense film that hinges on the idea off smart people temporarily acting dumb has got a knock against it--and surely doesn't deserve a 10. However, I do need to point out that aside from this, this is a great film. Robert Walker's performance is menacing and exciting to watch--and not typical of the usual film noir or suspense villain. He simply made the film. Also, aside from the brain lapse of the main character, the rest of the script is great--exciting, original and well worth seeing. A lovely film...but perhaps overrated within the Top 250 due to its plot difficulty.

By the way, a GREAT double-feature would be to see this and "My Son, John". That's because these were Walker's last two movies and the actor died before completing "My Son, John". So, to salvage the film, a few clips from "Strangers on a Train" were inserted into the second film. Views of DC were reused as well as the final death scene that was clipped and inserted in a vehicle at the end of "My Son, John". Fascinating viewing.

It's All in the Pictures

[Hitchcoc · 9/10 · 30 August 2001]

I read recently in a collection of interviews by Peter Bogdanovich that he was not happy with picking Farley Granger as the foil in "Strangers on a Train." I would agree. However, the character of Bruno is so dominant and Robert Walker so insidious, I don't think it matters. Like most Hitchcock films, it's the camera. His mind's eye. The use of the women with glasses.

The overhead shots. The threatening shadows. The merry go round. The lighter that slips into the storm drain. Hitchcock even said that the old man that goes under the merry-go-round didn't realize that he actually was in grave danger. Had he raised up for a second, the thing would have taken his head off. Those scenes are vintage Hitchcock. I don't know if it is vintage Hitchcock, but it's better than about 95% of the movies being made today.

The man who somehow finds himself in an untenable position through no fault of his own and then must find out enough about it so he can survive is the benchmark of many of the films. The weakest part of the movie is the relationship of Granger's character with the people he knows. Somehow, I never really felt the suspense.

Hitchcock's compelling and original suspense masterpiece

[pyrocitor · 10/10 · 23 February 2007]

Looking back at the career of Alfred Hitchcock, it never fails to be surprising how such a brilliant and visionary man could be denied sufficient recognition for how revolutionary he was for the film industry. It is likely a sign of how ahead of his time Hitchcock was, always attempting to push the envelope, and never coasting along with a film made simply for the purpose of being entertaining, but always with a deeper, more poignant motive on his mind. Strangers on a Train, one of Hitchcock's first and more underrated hits, is a perfect example of these traits - an entertaining and suspenseful story, even when viewed over 50 years later, yes, but so carefully and intelligently constructed it stands today as a masterpiece in film technique.

Arguably one of the pioneering "suspense thrillers", Strangers on a Train may come across as slightly dated in certain aspects, but it retains every bit of superbly crafted tension as it did back in 1951 (if perhaps slightly less shocking). The brilliant use of cinematography and lighting as well as quick, careful editing are what really make the film stand out, drawing out every possible iota of tension and retaining the audience's focus even in slower scenes. If there was ever any doubt of what a simply masterful filmmaker Hitchcock was, simply watching five minutes of Strangers on a Train should be enough to disavow such sentiments; every shot is so carefully chosen and constructed, all serving to drive the storyline ahead in a particularly innovative fashion. Sadly enough, there are certain moments in the story which are screechingly out of place enough to jar our focus away from the superb cinematography and editing - Bruno being able to reach down to the bottom of a sewer grate is simply unbelievable, and the figure of a stereotypical old man crawling under a wildly out of control carousel provides unintentional comedic relief in what is meant to be the film's most tense and engaging scene. These are only brief moments, but they are enough to stand out as painfully weak in an otherwise stellar film.

But what really makes Strangers on a Train stand out is the story premise. As Hollywood films of late run the risk of descending inescapably further and further into the vat of turgid clichée after clichée, it's wonderfully refreshing to see a 50 year old film with a premise which actually comes across as smart and original. Sure it's fairly straightforward, but the concept of "swapping murders" is simply one that would not fly in films of today's day and age, which makes it all the more entertaining to watch; the film's brilliant screenplay keeps the action flowing at a swift pace while providing us with some wonderfully memorable lines all the while. One can't help but notice the deeper themes Hitchcock is alluding to throughout as well, especially the concept of "darkness in humanity's heart", demonstrated by elderly ladies being fascinated and exhilarated by the prospect of murder, as well as Bruno's own cavalier attitude towards death. Hitch also works in many moments of dark humour (Bruno popping a child's balloon with his cigarette is priceless), and irony, shooting suspenseful scenes in happy, easy-going environments, such as the iconic carnival scenes, to create an even more eerie atmosphere. This may be a suspense thriller, yes, but to overlook the brain concealed beneath it would be simply inexcusable.

The antagonistic figure of Bruno (essayed to perverse perfection by Robert Walker, sadly in his last film role, but easily stealing the film from his admittably very talented fellow cast members) is without a doubt what makes Strangers on a Train so memorable, as the character is a marvel to behold. Here we have a simply superbly crafted villainous figure, all the more intriguing by how ordinary and unassuming he seems. Rather than cackling madly and thwarting the hero at every possible moment, Bruno is a calm, controlled, psychotic mess. He speaks of murder in such an offhand tone, yet retains a passionate glint in his eye when discussing different fashions of killing people. Bruno could seem to represent the "Id", as Freud would put it, the inner, darker and uninhibited aspects of mankind. It makes an interesting contrast to the hero figure, Guy Haines, and how bland and uninteresting he seems, almost as if to drive home the prospect of evil being much more interesting and appealing than constantly striving to do the right thing.

Yet despite this implied message, Hitch still twists our emotions enough that we root for Guy at every turn, and cheer at each new obstacle he is forced to overcome. It's a testament to actor Farley Granger's talent that despite Robert Walker's villain easily stealing the show, Granger's hero still comes across as sympathetic, still commanding our support even when falling prey to being a far less compelling character. Superb support is given by Ruth Roman, who manages to overcome the clichée and be a more innovative and complex romantic interest figure, Kasey Rogers giving a stunning performance as Guy's horrifyingly manipulative and hedonistic first wife, and Patricia Hitchcock, proving that she is far more talented than being simply "the director's daughter" would imply. The superb cast (headed by a simply wonderful Walker) really bring the film to life, adding so much more merit to the film than simply Hitchcock's breathtaking stylistics.

All in all, Strangers on a Train may still come across as slightly too dated for certain viewers, but it's still a shock how modern and appealing to contemporary audiences seems, considering it was released half a century ago. Once again, Hitchcock proves his unparalleled mastery of tension and film technique, and the film's surprisingly original and enjoyable premise is alone worth a viewing. Highly recommended to anyone wishing to undertake a brilliantly made but superbly entertaining film experience!

-9/10

One of my favorite Hitchcock movies

[gbill-74877 · 10/10 · 27 May 2016]

This is one of my favorite Hitchcock movies – it has a fantastic premise and cast, and also one of his very best murder scenes (and that's saying something!) Hitchcock uses great economy in the first half of the film; right out of the chute two strangers meet on a train, and one proposes the 'perfect murder', one in which there is no apparent motive because the two simply 'criss cross' murders for each other.

Robert Walker is absolutely perfect as the sociopath who proposes this scheme to the straight-laced tennis player, played well by Farley Granger. He wants his overbearing father out of the picture, and knows that Granger wants a divorce from his wife, having done his homework. Granger politely declines, and while his motivation increases when his adulterous wife (Laura Elliot) manipulatively tells him she no longer wants to split from him in the next scene, he still wants no part of murder. However, in the very next scene Walker goes forward with his 'end of the bargain' anyway, stalking Elliot at a carnival in an outstanding sequence. She's aware of him staring at her and even flirts with him a little bit, and as he follows her through the Tunnel of Love out to 'Magic Isle' it's seriously spine-tingling. Hitchcock shows her getting strangled in a reflection from her glasses which have fallen to the ground. These first few scenes, from the train to Magic Isle, are a masterpiece.

Granger is of course horrified to hear about this, and while he intends to move on to woman he's already been seeing (Ruth Roman), he doesn't intend on committing a murder he never agreed to. Walker begins stalking him and putting pressure on him, and there are fantastic scenes at the Jefferson Memorial (him staring down a distance and high up on the stairs), as well as at a tennis match (the crowd following a volley, turning their heads back and forth; Walker staring straight ahead at Granger).

It is true that the film slows down slightly in the second half, but it's by no means 'slow' – there are several other great scenes, we feel real tension as Granger finds himself mired in a creepy lunatic's fantasy come to life (channeling Hitchcock's 'wrong man' theme), and it has a thrilling climax, but I won't spoil it any further. I have to say I loved the spunky character played by Patricia Hitchcock, the director's daughter, and it's a shame she didn't get more work as an actor. It's also a shame that Robert Walker died at age 32, shortly after the film's release. He certainly lives on in this role, and this film more than stands the test of time. Excellent.

Hitchcock at his best

[antide-42376 · 8/10 · 29 August 2022]

'Strangers On A Train is rarely mentioned as the best movie he made but it is definitely one of his finest. I have watched a few of his movies recently and I regard this as better than 'North By Northwest', 'Notorious'. 'The Wrong Man', 'Vertigo', 'Spellbound', 'Rope'. Indeed I would put it right up there with 'Psycho',

Robert Walker is simply fantastic as the psychotic Bruno and why he wasn't even nominated for an Oscar is ludicrous. The fact that he died in tragic circumstances not long after this movie was finished compounds the fact that he had an amazing career ahead of him. Also I must give mention to Patricia Hancock who gives a really fine performance as Babs. Every actor is on point here and there are so many memorable scenes.

'Strangers On A Train' is a good movie, it really is that simple. A director at the peak of his powers and a performance from Robert Walker that lingers in the memory.

Surprises You the Second Time, in the Details

[secondtake · 9/10 · 2 June 2009]

This is such a revered and studied film, a classic among Hitchcock's many, it takes no cajoling to want to watch it again. Yet you think: can it hold up even when the huge (and clever, and amazing) trick of the plot is no surprise?

Yes.

And for starters there is the start, a profoundly beautiful and slick telling of the really the whole story, the gist of it. Two taxis, two men shown with their shoes, each walking onto the train, sitting then across from each other, and, oops, a mistake, a little nudge, and the conversation begins, and we see the men themselves. They are interchangeable.

The tone here is characteristic of Hitchcock, as it is in many horror and suspense films-- cheery and light. We know entering the film, however, that this won't be the case, so already we are worried. What, after all, is about to go wrong?

A lot. In truly Hitchcock fashion, it is a purely innocent man (nearly always a man) who faces injustice, who is trapped by circumstance threatening what is most valuable to him. The innocent in this case, tennis player Guy Haynes, is played with an innocence that is believable--his collegiate politeness in that first scene, for example, as he realizes the other man is a little cuckoo, is just what you or I might do. The not-so-innocent man is the self- absorbed and scarily intelligent spoiled child, Bruno Anthony, played with utter brilliance by Robert Walker. (This uncanny performance is equivalent to that of another Hitchcock wacko, played by Anthony Perkins in Psycho.) So from scene one, on the train (and the train, really gorgeous!), we have the two leads and we have the mind-blowing and utterly simple and ultimately devastating plot, from the first novel by Patricia Highsmith, who also wrote the books behind the two Mr. Ripley movies. And it doesn't hurt that the screenplay was co- written by Raymond Chandler himself, who knows something about economy and clever dialog. And crime.

And of course there is more than just the first scene. What to note? Well, that smarty of a senator's daughter (I thought she was terrific) is Hitchcock's daughter, Patricia, who is still with us (as of 2009; she also had a role in Psycho). And there is a characteristic landmark location for a key scene in the film--the tennis courts in the Hamptons, known to us as the site of the U.S. Open. The fantastic last full scene with the carousel is the only place where Hitchcock moves into a kind of slow and steady montage, building up the suspense by making it surreal. The fear gets positively fattening with the laughing children and the old man crawling underneath it all. And when it collapses in a crash--that's all backprojected on a set, one of the more naturalistic uses by a director known for not worrying about the realism of his back projections.

The photography is that perfect Hollywood stunning without becoming so stylized (as in some noir films) that it is an object in its own right. Look again at the first scene, or the shooting (and editing) of Haynes entering the house for what the audience thinks is a murder. This is sophisticated construction. When we are not completely surprised that it's Bruno in the bed, that only proves that the director has us on our toes. Something unexpected is always expected.

Are there glitches? Who knows? It depends on what kind of falseness you can accept (or embrace) as beautiful style. The scene where Bruno is choking the old woman at a party is both brilliant (the woman, played by Norma Varden, is a caricature so believable it takes your breath away) and marred by his looking at the senator's daughter and being triggered into a deadly trance by her glasses, and her resemblance to his earlier victim. This is a mid-20th Century idea of psychology that intrudes on many of Hitchcock's efforts. (The end of Psycho, for starters.)

The Wikipedia article on the film smartly emphasizes the consistent doubling of things in the movie, from the main characters to the murder victim and the senator's daughter. This echoes in lots of little ways--two men trail him to the tennis court, two men accompany the victim to the amusement park, and so on. There can be too much made of this, but it does supply an aesthetic consistency above and below our consciousness. Don't forget, there are meant to be two murders--it is the lack of the second murder, the inability to create a doubling in that case, that causes Bruno to unravel.

Walker the actor had emotional problems and was institutionalized in the year before this movie was shot, and just afterwards, he died from a reaction to a drug used to calm one of his outbursts. Though he appeared in other films, Strangers on a Train is easily his tour-de- force. Farley Granger had a long career that never quite saw him break into true stardom, though his style can have a peculiar nervous sweetness that really works, especially in They Live by Night.

And if you watch this one for the first or third time, do look for the chilling and hilarious scene at the tennis match where the crowd's heads all move back and forth in unison-- except for Bruno's. He is staring out without moving his head straight at us. As the trailer for the movie says, after this movie, you won't be talking to "strangers on a train."

One of his best

[nunki7 · 15 October 2000]

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.

A memorable concept that is well executed by all involved

[bob the moo · 13 January 2005]

Guy Haines is a tennis pro with a lover and a wife who has left him and is divorcing him. A chance meeting on a train with stranger Bruno Anthony sees the two of them get to talking and Bruno rambling about a vague scheme about strangers swapping murders – for example Bruno killing Guy's spiteful wife and Guy killing Bruno's dominating father. That way neither man can be linked to either murder but both get what they want. Of course Guy leaves the train thinking no more of this babbling fool until, that is, he claims to have murdered Guy's wife – a claim that turns out to be true. With Guy the police's number one suspect and Bruno pursuing him to meet "his end of the deal", Guy must work out a way out before it is too late.

One of the best things about Christmas is possibly the fact that lots of older films get wheeled out in mini series of a director's or actor's work, with lots of the films over a short time period. This year, as with several years ago, Hitchcock was the man in question on one channel and I took the opportunity to revisit several of his films in that time. Having not seen Strangers for many years, I found that the majority of my memories of it actually came from the Billy Crystal film where he references it rather than the film itself; this meant that I didn't remember exactly what happens and could almost enjoy it as if it were the first viewing. As such the film is consistently gripping and enjoyable as things seem to come to a head quite quickly. At the point of Bruno's murder the film does stutter a little bit as it can't possibly keep up that momentum but even then it is still very good.

Hitchcock has built the tension well within scenes and between characters and it is this that keeps the film moving along with the unknown resolution. The black and white looks crisp and very clear – the use of shadows is good but done sparingly, with the majority of the film being very clear and perhaps more engaging for it. This was Walker's last film since he died a few months after making it and he is effectively unhinged here – appearing coldly cruel and sane while also showing that he is very much off his head! For this reason he tends to steal his scenes easily from Granger who has more of a straight role at the start, although he does get markedly better as the film goes on and more is asked of him. Outside of these two only Elliott really has a large role and she does it well; meanwhile support is roundly good and features a small role for Carroll.

Overall this is a great film. For sheer entertainment value I'm afraid that it isn't my favourite Hitchcock but it is still very good and is rightly still held in high esteem. The story is simple but is delivered at a good pace and with tension, the direction is good and the cast are roundly strong even if Walker tends to effortlessly steal his scenes. Overall a great film and one that is definitely making sure that you've seen.