The novel unfortunately had a few too many slow spots where the plot just dragged, but overall I did still enjoy the story and the characters. Alfred Hitchcock’s trademark cameo in Strangers on a Train was directed by his daughter Patricia, who would also star in the film as Barbara Morton, younger sister of Guy Haines’ sophisticated love interest Anne Morton (Ruth Roman). All rights reserved. On the train he meets Charles Anthony Bruno, who bemoans his wealthy father. One of these strangers, Charles Bruno, is an extremely well imagined sociopath, while the other, Guy, is a mild mannered architect whose role in this story I never entirely accept. All Critics (49) The film starts out pretty promising in its subtle intensity, but as things progress, momentum dips, yet not so deeply that compellingness isn't salvaged time and again, from the depths of a small-scale, though still pretty worthy idea. Bruno makes his presence apparent by not moving his head to follow the match like his fellow spectators, instead keeping his eyes trained directly on Guy. The idea of telling Bruno began to comfort him. Hitchcock shows her getting strangled in a reflection from her glasses which have fallen to the ground. Why is it so much easier to unburden yourself to a stranger? This was Hightsmith's first novel and while the premise is fascinating, it's not nearly as tense or sophisticated as the later Ripley books (the 'Ripliad'). To see what your friends thought of this book, After reading Patricia Highsmith's first novel Strangers On a Train, Alfred Hitchcock realized what a gem he'd come upon. 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. "Strangers on a train, strangers on a train, into this house we're... um... named... or something." Bruno is a very psychopathic heavy drinker who was the one to propose the exchange of murders with Guy. “I guess I’m a little jittery,” Guy offers as his apology for rightly dismissing Bruno’s prodding into his personal life. The chronograph’s dial fills the screen, displaying the gold Arabic number markers around the dial, three hands (including a second hand), sub-dial registers at 11:00 and 7:00, and the words “SWISS MADE” flanking the 6:00 marker. The natural shortcomings are ultimately pretty palpable, as screenwriters Raymond Chandler, Whitfield Cook and Czenzi Ormonde don't seem to be inspired enough in the long run to obscure limitations to depth, and only make matters worse through the repetitious, melodramatic and conventional material, yet what they do right is done very right, with most dialogue being pretty clever, and certain dramatic set pieces being rather audacious in their tight attention to intrigue.
Farley Granger and Robert Walker on the set of Strangers on a Train, getting along far more affably than their characters. Bruno was not the ordinary stranger on the train by any means. This theme was present from the beginning, when her debut novel. Strangers on a Train kicked off what is often considered Hitch’s renaissance following the director’s lack of box office success in the late 1940s. Robert Walker was pleased to learn during the production that he had been Hitchcock’s only choice for the role of Bruno, though the movie would sadly prove to be the last released during his lifetime; the talented actor died eight months after filming wrapped at the young age of 32 when he suffered an allergic reaction to the effects of amobarbital administered by his psychiatrist, Frederick Hacker, and its reaction to the alcohol already in his blood stream. | Rating: A+ Keep up the stellar work. Hitchcock was thrilled; Highsmith, not so much. The image is an example of a ticket confirmation email that AMC sent you when you purchased your ticket.
| Rating: 9/10 by W. W. Norton & Company. I've liked other Highsmith books more than I liked this one, but I still thought this book was good, although some parts of it definitely could have been shortened. Is it that awareness of anonymity? Get an email every time I do something new. 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. Highsmith had envisioned her Bruno wearing a tacky tie for the scene as well, though she describes: …the monogram that trembled on a thin gold chain across the tie of the young man opposite [Guy]. There's never a chance that the "good guy" will yield to the "bad guy's" intentions, which would represent of a blurring of the "good" and "evil" lines and make for a more interesting character study. Doubles. |, August 20, 2019 He's the one. 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. While the acronym itself has a more puerile meaning that was all I could think of when trying to brand my new site back in my early 20s, the phrase “BAMF Style” has taken on some equity now and I feel tied to it. Guy Haines, an architect, is going to meet his wife, Miriam, in the hope of obtaining a divorce. Guy is no longer paranoid and scared of him; on the contrary, their strange dysfunctional relationship morphs into one in which Bruno is enamored of Guy and Guy can’t seem to--mostly doesn’t, "And Bruno, he and Bruno. Patricia Highsmith imo gets high marks for this book that Hitchcock made into a classic movie, but it is also full of too many rather dull and sophisticated suburbanites. He was cruel and corrupt enough himself to appreciate a story like that of his first love.” ― Patricia Highsmith, Strangers on a Train.
I've liked other Highsmith books more than I liked this one, but I still thought this book was good, although some parts of it definitely could have been shortened. Anne catches sight of Bruno’s unusual tie clip, here worn on a much more conventional knitted silk tie, and recognizes that something is amiss with their mysterious interloper. Bottom line, there's a certain minimalism to this story concept whose emphasis through moments of questionable pacing and dramatics, in addition to conventionalism, threaten the final product, whose story still has enough meat - brought to life by clever writing, solid acting and inspired direction - to make Alfred Hitchcock's "Strangers on a Train" a slickly clever and biting, and altogether rewarding dramatic thriller. These two operate homo-erotically, and dopplegangerishly and Oedipally as a lot of mid- nineteenth-century mysteries seemed to be, with lost of psychopaths and sociopaths. The book is worth reading, but if you're new to Highsmith I would recommend starting with "The Talented Mr. Ripley". Indeed, the final product's engagement value is truly secured by Alfred Hitchcock's direction, whose style utilizes airtight framing and cinematographer Robert Burks' haunting plays on shadow-heavy lighting in order to chill, both aesthetically and in the context of biting substance that Hitchcock's quiet meditativeness treats with enough subtlety to steadily, but surely, immerse you into the full depths of this thriller. And the chocolate ice cream is probably what he thought about first. |, August 2, 2013 The premise is fantastic and the beginning of the novel excellent. Despite the trio’s hard work and Chandler’s early dismissal, Warner Brothers insisted that the latter be credited to capitalize on his prestige so the final screenplay was credited to Raymond Chandler and Czenzi Ormonde. Hitchcock was above all the master of great visual set pieces, and there are several famous sequences in Strangers on a Train. Possibly I have been reading too many Cornell Woolrich and Jim Thompson gutter noir novels, tightly constructed, no waste, down and dirty, but I thought this was both elegant and about 1/3 longer than it needed to be. Note where the watchmaker’s name was “scrubbed” from the dial. Alfred Hitchcock personally designed the distinctive lobster-printed tie that Bruno wears, the menacing claws of the many lobsters communicating how Bruno already has his “claws” into Guy from their first fateful meeting on the train. Bruno suffered from an abusive relationship with his father and always wanted to murder him. Meanwhile, Guy is murder suspect number one. Guy feigns amusement for the sake of politeness, but the psychopathic Bruno mistakes this as an endorsement of the deadly scheme. Just like to add that the lobster is also symbolic of Bruno’s weapons of choice; his hands. Bruno balances his striped suit and boldly patterned tie with a plain white broadcloth cotton shirt. See all 4 questions about Strangers on a Train…, Strangers on a Train by Patricia Highsmith - February 2020, Strangers on a Train by Patricia Highsmith (November 2019), Strangers on a Train / Patricia Highsmith. While Walker may have been Hitchcock’s first choice, the director was less than pleased with the first screenwriter who agreed to take on the project. The pinned collar has recently come back en vogue thanks to Roger Sterling’s style on Mad Men and Daniel Craig’s most recent adventures as James Bond in Spectre.
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