Strangers on a Train (film)

593:. Chandler took the job despite his opinion that it was "a silly little story." But Chandler was a notoriously difficult collaborator and the two men could not have had more different meeting styles: Hitchcock enjoyed long, rambling off-topic meetings where often the film would not even be mentioned for hours, while Chandler was strictly business and wanted to get out and get writing. He called the meetings "god-awful jabber sessions which seem to be an inevitable although painful part of the picture business." Chandler also felt that the original novel's plot was superior to Hitchcock's version, and argued that it should be restored. He complained privately that Hitchcock was too ready “to sacrifice dramatic logic (insofar as it exists) for the sake of a camera effect.” Interpersonal relations deteriorated rapidly until finally Chandler became openly combative; at one point, upon viewing Hitchcock struggling to exit from his limousine, Chandler remarked within earshot, "Look at the fat bastard trying to get out of his car!" This would be their last collaboration. Chandler completed a first draft, then wrote a second, without hearing a single word back from Hitchcock; when finally he did get a communication from the director in late September, it was his dismissal from the project. 743:, who played Miriam—is her character's strangulation by Bruno on the Magic Isle. "n one of the most unexpected, most aesthetically justified moments in film," the slow, almost graceful, murder is shown as a reflection in the victim's eyeglasses, which have been jarred loose from her head and dropped to the ground. The unusual angle was a more complex proposition than it seems. First Hitchcock got the exterior shots in Canoga Park, using both actors, then later he had Rogers alone report to a soundstage where there was a large concave reflector set on the floor. The camera was on one side of the reflector, Rogers was on the other, and Hitchcock directed Rogers to turn her back to the reflector and "float backwards, all the way to the floor... like you were doing the limbo." The first six takes went badly—Rogers thudded to the floor with several feet yet to go—but on the seventh take, she floated smoothly all the way. Hitchcock's even-strained response: "Cut. Next shot." Hitchcock then had the two elements "ingenious" double printed, yielding a shot of "oddly appealing originality a stark fusion of the grotesque and the beautiful.... The aestheticizing of the horror somehow enables the audience to contemplate more fully its reality." 898:—only to order the power cut, leaving her in the dark at the very top of the ride. The press release embellished the tale, claiming he left her "dangling in total darkness for an hour," only then allowing his "trembling daughter" to be lowered and released. Although that account continues to be published in books to this day, "it just wasn't true", according to Patricia Hitchcock O'Connell. First of all, she was not up there alone: flanking her were the actors playing Miriam's two boyfriends—"and I have a picture of us waving." "This was good stuff for press agents paid to stir up thrills and it has been repeated in other books to bolster the idea of Hitchcock's sadism," but "we were up there two or three minutes at the outside.... My father wasn't ever sadistic. The only sadistic part was I never got the hundred dollars." 1029:

politics, Bruno represents a tempting overthrow of all responsibility." And at this point the blurring of good and evil accelerates: Guy fails to repudiate Bruno's suggestive statement about murdering Miriam ("What's a life or two, Guy? Some people are better off dead.") with any force or conviction. "When Bruno openly suggests he would like to kill his wife, he merely grins and says 'That's a morbid thought,' but we sense the tension that underlies it." It ratchets up a notch when Guy leaves Bruno's compartment and "forgets" his cigarette lighter. "He is leaving in Bruno's keeping his link with Anne, his possibility of climbing into the ordered existence to which he aspires.... Guy, then, in a sense connives at the murder of his wife, and the enigmatic link between him and Bruno becomes clear."

727:"Preferences in food characterize people..." Hitchcock said. "I have always given it careful consideration, so that my characters never eat out of character. Bruno orders with gusto and with an interest in what he is going to eat — lamb chops, French fries, and chocolate ice cream. A very good choice for train food. And the chocolate ice cream is probably what he thought about first. Bruno is rather a child. He is also something of a hedonist. Guy, on the other hand, shows little interest in eating the lunch, apparently having given it no advance thought, in contrast to Bruno, and he merely orders what seems his routine choice, a hamburger and coffee." 3321: 3305: 3287: 3271: 388:

instead kills the carousel operator, causing the carousel to spin out of control. A carnival worker crawls underneath it and applies the brakes too abruptly, causing the carousel to spin off its support, trapping the mortally injured Bruno underneath. The worker who called the police tells them that Bruno, not Guy, is the one he remembers seeing the night of the murder. As Bruno dies, his fingers unclench to reveal Guy's lighter in his hand. Realizing that Guy is not the murderer, the police ask him to come to the station to tie up loose ends.

1000:. The two sets of feet in the title sequence match each other in motion and in cutting, but they immediately establish the contrast between the two men: the first shoes "showy, vulgar brown-and-white brogues; second, plain, unadorned walking shoes." They also demonstrate Hitchcock's gift for deft visual storytelling: For most of the film, Bruno is the actor, Guy the reactor, and Hitchcock always shows Bruno's feet first, then Guy's. And since it is Guy's foot that taps Bruno's under the table, we know Bruno has not engineered the meeting. 31: 646:. "Low-keyed, mild mannered", Burks was "a versatile risk-taker with a penchant for moody atmosphere. Burks was an exceptionally apt choice for what would prove to be Hitchcock's most Germanic film in years: the compositions dense, the lighting almost surreal, the optical effects demanding." None was more demanding than Bruno's strangulation of Miriam, shown reflected in her eyeglass lens: "It was the kind of shot Hitchcock had been tinkering with for twenty years—and Robert Burks captured it magnificently." 851:

and the two boyfriends in her odd ménage à trois bring "The Band Played On" to life by singing it on the merry-go-round, lustily and loudly... Grinning balefully on the horse behind them, Bruno then sings it himself, making it his motto. The band plays on through Bruno's stalking of his victim and during the murder itself, blaring from the front of the screen, then receding into the darkness as an eerie obbligato when the doomed Miriam enters the Tunnel of Love.

4154: 822:"who do things", gets a more vigorous musical treatment from Tiomkin: "Harmonic complexity defines the motifs associated with Bruno: rumbling bass, shocking clusters, and glassy string harmonics. These disturbing sounds, heard to superb effect in cues such as 'The Meeting,' 'Senator's Office,' and 'Jefferson Memorial,' are not just about Bruno, but about how he is perceived by those whose lives he crosses—first Guy, then everyone in Guy's entourage." 333: 1266:'s opinion of the film varied over time. She initially praised it, writing: "I am pleased in general. Especially with Bruno, who held the movie together as he did the book." Later in life, while still praising Robert Walker's performance as Bruno, she criticized the casting of Ruth Roman as Anne, Hitchcock's decision to turn Guy from an architect into a tennis player and the fact that Guy does not murder Bruno's father as he does in the novel. 781:

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: "I did that on one take", Hitchcock explained, "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."

1053:"You're a free man now", he says, just as a police car drives up, looking for the husband of a certain recent murder victim. Guy nervously steps into the shadows with Bruno, literally behind the bars of an iron fence; "You've got me acting like I'm a criminal", he says. "The scene gives a beautifully exact symbolic expression to Guy's relationship with Bruno and what he stands for." 1132:, between Washington, D.C., and New York—the novel ranged through the southwest and Florida, among other locales. The scripting team added the tennis match—and the crosscutting with Bruno's storm drain travails in Metcalf—added the cigarette lighter, the Tunnel of Love, Miriam's eyeglasses; in fact, the amusement park is only a brief setting in the novel. 376:; Bruno compulsively squeezes the woman's neck, and other guests intervene to stop him from strangling her to death. Barbara tells Anne that Bruno was looking at her while strangling the other woman, and Anne realizes Barbara's resemblance to Miriam. Her suspicions aroused, Anne confronts Guy, who tells her the truth about Bruno's scheme. 622:, Hitchcock's wife. Together the three women, working under the boss's guidance and late into most nights, finished enough of the script in time to send the company East. The rest was complete by early November. Three notable additions the trio had made were the runaway merry-go-round, the cigarette lighter, and the thick eyeglasses. 818:

accurately underscores the visuals of that title sequence—the massive granite edifice of New York's Pennsylvania Station, standing in for Washington's Union Station—because it was scored for an unusually large orchestra, including alto, tenor and baritone saxes, three clarinets, four horns, three pianos and a novachord.

732: 400: 338: 337: 334: 1259:

website: "Hitchcock's favourite device of an ordinary man caught in an ever-tightening web of fear plunges Guy into one of the director's most fiendishly effective movies. Ordinary Washington locations become sinister hunting grounds that mirror perfectly the creeping terror that slowly consumes Guy,

1181:

praised it, writing: "Performance-wise, the cast comes through strongly. Granger is excellent as the harassed young man innocently involved in murder. Roman's role as a nice, understanding girl is a switch for her, and she makes it warmly effective. Walker's role has extreme color, and he projects it

1113:

climate. "To all appearances Guy is the all-American stereotype, an athlete, unassuming despite his fame, conservatively dressed," wrote Carringer; he is "a man of indeterminate sexual identity found in circumstances making him vulnerable to being compromised." Hitchcock, who had drawn gay characters

1016:

It was not enough for Hitchcock to construct merely a world of doubles—even contrasting doubles—in a strict polar-opposite structure; for Hitchcock, the good-and-evil, darkness-and-light poles "didn't have to be mutually exclusive." Blurring the lines puts both Guy and Bruno on a good-evil continuum,

992:

This doubling has some precedent in the novel, but more of it was deliberately added by Hitchcock, "dictated in rapid and inspired profusion to Czenzi Ormonde and Barbara Keon during the last days of script preparation." It undergirds the whole film because it finally serves to associate the world of

649:

Burks considered his fourteen years with Hitchcock the best of his career: "You never have any trouble with him as long as you know your job and do it. Hitchcock insists on perfection. He has no patience with mediocrity on the set or at a dinner table. There can be no compromise in his work, his food

625:

There was one point of agreement between Chandler and Hitchcock, although it would come only much later, near the release of the film: they both acknowledged that since virtually none of Chandler's work remained in the final script, his name should be removed from the credits. Hitchcock preferred the

383:

Anne visits Bruno's home and tries to explain to his befuddled mother that her son is a murderer. Bruno mentions Guy's missing cigarette lighter to Anne and claims that Guy asked him to search the murder site for it. Guy infers that Bruno intends to plant it at the scene of the murder and incriminate

379:

Bruno sends Guy a package containing a pistol, a house key, and a map showing the location of his father's bedroom. Guy creeps into Bruno's father's room to warn him of his son's murderous intentions, but instead finds Bruno there waiting for him. Guy tries to persuade Bruno to seek psychiatric help,

1020:

At first glance, Guy represents the ordered life where people stick to rules, while Bruno comes from the world of chaos, where they get thrown out of multiple colleges for drinking and gambling. Yet both men, like so many of Hitchcock's protagonists, are insecure and uncertain of their identity. Guy

983:

There are two respectable and influential fathers, two women with eyeglasses, and two women at a party who delight in thinking up ways of committing the perfect crime. There are two sets of two detectives in two cities, two little boys at the two trips to the fairground, two old men at the carousel,

780:

The final scene of the so-called American version of the film has Barbara and Anne Morton waiting for Guy to call on the telephone. 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 motion picture

763:

Hitchcock took a toy carousel and photographed it blown up by a small charge of explosives. This piece of film he then enlarged and projected onto a vast screen, positioning actors around and in front of it so that the effect is one of a mob of bystanders into which plaster horses and passengers are

612:

At their first conference, Hitchcock made a show of pinching his nose, then holding up Chandler's draft with his thumb and forefinger and dropping it into a wastebasket. He told the obscure writer that the famous one hadn't written a solitary line he intended to use, and they would have to start all

520:

got what he wanted when he assigned Ruth Roman to the project, over Hitchcock's objections. The director found her "bristling" and "lacking in sex appeal" and said that she had been "foisted upon him". Perhaps it was the circumstances of her forced casting, but Roman became the target of Hitchcock's

339: 1388:

In 1997, Warner released the film onto DVD as a double sided disc, with the "British" version on one side, and the "Hollywood" version on the reverse. Between the two versions of the film, the "British" version most prominently omits the final scene on the train. A two-disc DVD edition was released

1056:

Hitchcock continues the interplay of light and dark throughout the film: Guy's bright, light tennis attire, versus "the gothic gloominess of Arlington mansion"; the crosscutting between his game in the sunshine at Forest Hills while Bruno's arm stretches into the dark and debris of the storm drain

974:

is "the key element in the film's structure," and Hitchcock starts right off in his title sequence making this point: there are two taxicabs, two redcaps, two pairs of feet, two sets of train rails that cross twice. Once on the train, Bruno orders a pair of double drinks—"The only kind of doubles I

850:

In one of Hitchcock's most explicit operatic gestures, the characters at the fateful carnival sing the score, giving it full dimension as part of the drama. In a conventional movie, the tune would play in the background as a clever ironic backdrop. But Hitchcock takes music to another level. Miriam

719:

marked something of a renaissance for Hitchcock, after several years of low enthusiasm for his late-1940s output, and he threw himself into the micromanagement of some of its production. Hitchcock himself designed Bruno's lobster necktie, revealed in a close-up to have strangling lobster claws, and

629:

Even while the torturous writing stage was plodding its course, the director's excitement about the project was boundless. "Hitchcock raced ahead of everyone: the script, the cast, the studio... pieces of the film were dancing like electrical charges in his brain." The more the film resolved in his

878:

With a release scheduled for early summer, the studio press agents swung into high gear early in 1951. Hitchcock, promotionally photographed many times over the years strangling various actresses and other women—some one-handed, others two—found himself in front of a camera with his fingers around

821:

Tiomkin's contrasting musical themes continued throughout the film, delineating two characters with substantial differences: "For 'Guy's Theme', Tiomkin created a hesitant, passive idea, made-to-order music for Farley Granger's performance." Bruno, who tells Guy on the train that he admires people

548:

Hitchcock secured the rights to the Patricia Highsmith novel for just $ 7,500 since it was her first novel. As usual, Hitchcock kept his name out of the negotiations to keep the purchase price low. Highsmith was quite annoyed when she later discovered who bought the rights for such a small amount.

534:

Kasey Rogers noted that she had perfect vision at the time the film was made, but Hitchcock insisted she wear the character's thick eyeglasses, even in long shots when regular glass lenses would have been undetectable. Rogers was effectively blind with the glasses on and needed to be guided by the

387:

When Bruno arrives at the amusement park, a carnival worker recognizes him from the night of the murder; he informs the police, who think he has recognized Guy. After Guy arrives, he and Bruno fight on the park's carousel. Believing that Guy is trying to escape, a police officer shoots at him, but

367:

Guy goes to the Mortons' home, where Anne's father informs Guy that his wife has been murdered. Anne's sister Barbara says that the police will think that Guy is the murderer since he has a motive. The police question Guy, but cannot confirm his alibi: a professor Guy met on the train was so drunk

1235:

in 2002, saw the film as a seminal entry in its genre: "Aside from its very evident approach as a crowd-pleasing popcorn flick, the movie is one of the original shells for identity-inspired mystery thrillers, in which natural human behavior is the driving force behind the true macabre rather than

355:

Amateur tennis star Guy Haines wants to divorce his promiscuous wife Miriam so he can marry Anne Morton, the daughter of a US Senator. On a train, wealthy smooth-talking psychopath Bruno Antony recognizes Haines and reveals his idea for a murder scheme: two strangers meet and "swap murders"—Bruno

1052:

part of their "deal". "On one side of the street, stately respectable houses; towering in the background, on the right of the screen, the floodlit dome of the U.S. Capitol, the life to which Guy aspires, the world of light and order." Bruno tells Guy what he has done and gives him the glasses.

754:

is the climactic fight on a berserk carousel." While Guy and Bruno fight, the ride runs out of control until it tears itself to pieces, flinging wooden horses into the crowd of screaming mothers and squealing children. "The climactic carousel explosion was a marvel of miniatures and background

359:

Guy meets with Miriam, who is pregnant by someone else, at her workplace in Metcalf, their hometown. Miriam informs Guy that she no longer wants to end their marriage. She threatens to claim that he is the father, in order to thwart any divorce attempt. That evening, Bruno follows Miriam to an

1042:

Hitchcock was a classical technician in terms of controlling his visuals, and his use of screen space underlined the tension in ways the audience isn't always aware of. He always used the convention that the left side of the screen is for evil and/or weaker characters, while the right is for

1028:

Bruno tells Guy early on that he admires him: "I certainly admire people who do things", he says. "Me, I never do anything important." Yet as Bruno describes his "theories" over lunch, "Guy responds to Bruno—we see it in his face, at once amused and tense. To the man committed to a career in

817:

doubles—right from the opening title sequence: "The first shot—two sets of male shoes, loud versus conservative, moving toward a train—carries a gruff bass motif set against Gershwin-like riffs, a two-part medley called "Strangers" and "Walking" that is never heard again." The powerful music

356:

suggests he kill Miriam and Guy kill Bruno's hated father. Each will murder a stranger, with no apparent motive, so neither will be suspected. Guy humors Bruno by pretending to find his idea amusing, but is so eager to get away from Bruno that he leaves behind his engraved cigarette lighter.

1195:

criticized the film: "Mr. Hitchcock again is tossing a crazy murder story in the air and trying to con us into thinking that it will stand up without support. ... Perhaps there will be those in the audience who will likewise be terrified by the villain's darkly menacing warnings and by Mr.

772:

the shot (artificially accelerating the action), it was not a trick shot: the man actually had to crawl under the spinning ride, just inches from possible injury. "Hitchcock told me that this scene was the most personally frightening moment for him in any of his films", writes biographer

829:

is the calliope music, heard first at the fairground and again, later, when Bruno is strangling Mrs. Cunningham at Senator Morton's soirée, and experiences his unfortunate flashback and subsequent fainting spell. It was Hitchcock, not Tiomkin, whose idea brought the four evocative

340: 371:

Bruno follows Guy around Washington, introduces himself to Anne, and appears at a party at Senator Morton's house. To amuse another guest, Bruno playfully demonstrates how to strangle a woman. His gaze falls upon Barbara, whose appearance resembles Miriam's. This triggers a

777:. "The man who crawled under the out-of-control carousel was not an actor or a stuntman, but a carousel operator who volunteered for the job. 'If the man had raised his head even slightly", Hitchcock said, "it would have gone from being a suspense film into a horror film." 336: 1383:

Hitchcock told that the picture should have ended with Guy at the amusement park after he has been cleared of murdering his wife. He wanted the last line of the film to be Guy describing Bruno as "a very clever fellow". This ending, however, was not acceptable to Warner

1158:. All the major elements of the scene—the two men struggling, the accidentally shot attendant, the out-of-control merry-go-round, the crawling under the moving merry-go-round to disable it—are present in Crispin's account, though he received no screen credit for it. 988:

Hitchcock carries the theme into his editing, crosscutting between Guy and Bruno with words and gestures: one asks the time and the other, miles away, looks at his watch; one says in anger "I could strangle her!" and the other, far distant, makes a choking gesture.

855:"The Band Played On" makes its final reprise during Guy's and Bruno's fight on the merry-go-round, even itself shifting to a faster tempo and higher pitch when the policeman's bullet hits the ride operator and sends the carousel into its frenzied hyper-drive. 1207:

the film has an approval rating of 98% based on reviews from 52 critics, with an average rating of 8.80/10. The website's consensus reads, "A provocative premise and inventive set design lights the way for Hitchcock diabolically entertaining masterpiece."

1047:

Nowhere is this more evident than the scene where Guy arrives home at his D.C. apartment to find Bruno lurking across the street; Bruno killed Miriam that evening in Metcalf, and has her glasses to give to Guy almost as a "receipt" that he has executed

709:. Hitchcock had already shot the long shots for the tennis match at Forest Hills and would add closer shots with Granger and Jack Cushingham, Granger's tennis coach off-screen and Guy's tennis opponent Fred Reynolds on-screen at a tennis club in 617:

There was not much time though—less than three weeks until location shooting was scheduled to start in the East. Ormonde hunkered down with Hitchcock's associate producer Barbara Keon—disparagingly called "Hitchcock's factotum" by Chandler—and

1003:

Roger Ebert wrote that "it is this sense of two flawed characters—one evil, one weak, with an unstated sexual tension—that makes the movie intriguing and halfway plausible, and explains how Bruno could come so close to carrying out his plan."

1370:

An early preview edit of the film, sometimes labelled the "British" version although it was never released in Britain or anywhere else, includes some scenes either not in, or else different from, the film as released. According to biographer

919:

Some audience feedback arriving at Jack Warner's office condemned the film for its sordid story, while just as many others were favorable. Of greater interest to Warner was the box office take, and the "receipts soon told the true story:

315:

who suggests that they "exchange" murders so that neither will be caught. The film initially received mixed reviews, but has since been regarded much more favorably. In 2021, the film was selected for preservation in the United States

1389:

in 2004 containing both versions of the film, this time with the "British" version titled "Preview Version" (102:49 long) and the "Hollywood" version titled "Final Release Version" (100:40 long). The film was later made available on

1057:

trying to fish out the cigarette lighter; even a single image where "Walker is photographed in one visually stunning shot as a malignant stain on the purity of the white-marble Jefferson Memorial, as a blot on the order of things."

940:

that demonstrate a running motif of crisscross, double-crossing, and crossing one's double. Talking about the structure of the film, Hitchcock said to Truffaut, "Isn't it a fascinating design? One could study it forever."

720:"he personally selected an orange peel, a chewing-gum wrapper, wet leaves, and a bit of crumpled paper that were used for sewer debris" in the scene where Bruno inadvertently drops Guy's lighter down the storm drain. 662:

With cast nailed down, a script in hand, and a director of photography in tune with Hitchcock's vision on board, the company was ready to commence filming. Hitchcock had a crew shoot background footage of the

504:

Hitchcock said that correct casting saved him "a reel of storytelling time", since audiences would sense qualities in the actors that did not have to be spelled out. Hitchcock said that he originally wanted

1324: 1037:

Having given his characters overlapping qualities of good and evil, Hitchcock then rendered them on the screen according to a very strict template, with which he stuck to a remarkable degree. Ebert wrote:

564:

subtext into the story. With treatment in hand, Hitchcock shopped for a screenwriter; he wanted a "name" writer to lend some prestige to the screenplay, but was turned down by eight writers, including

335: 1260:

as the lethally smooth Bruno relentlessly pursues him to a frenzied climax. Fast, exciting, and woven with wicked style, this is one of Hitchcock's most efficient and ruthlessly delicious thrillers."

630:

mind's eye, the more he knew his director of photography would play a critical role in the scenes' execution. He found exactly what he needed right on the Warners lot in the person of staff cameraman

1612: 784:

Principal photography wrapped just before Christmas, and Hitchcock and Alma left for a vacation in Santa Cruz, then in late March 1951, on to St. Moritz, for a 25th anniversary European excursion.

768:

The explosion is triggered by the attempts of a carnival man to stop the ride after crawling under the whirling carousel deck to get to the controls in the center. Although Hitchcock admitted to

608:, was attracting good notices from critics, and she was "a fair-haired beauty with long shimmering hair."—always a plus with Hitchcock. With his new writer, he wanted to start from square one: 1141:

In the novel, Guy Haines is not a tennis player, but rather a promising architect, and he does indeed go through with the murder of Bruno's father. In the movie, "Guy became a decent guy who

713:. The rest of the shooting would take place on Warner soundstages, including many seemingly exterior and on-location shots that were actually done inside in front of rear-projection screens. 962:

theme. The pair has what writer Peter Dellolio refers to as a "dark symbiosis." Bruno embodies Guy's dark desire to kill Miriam, a "real-life incarnation of Guy's wish-fulfillment fantasy".

806:(1943), and would go on to score two more consecutive Hitchcock films, the director and composer "simply never developed much of a kinship" and "the Hitchcock films are not Tiomkin's best". 1571:

Warner Bros financial information in The William Schaefer Ledger. See Appendix 1, Historical Journal of Film, Radio and Television, (1995) 15:sup1, 1–31 p 31 DOI: 10.1080/01439689508604551

894:

One studio press release gave rise to a myth that still lingers on today. Hitchcock and Patricia both were afraid of heights, and father offered daughter a hundred dollars to ride the

1196:

Hitchcock's sleekly melodramatic tricks. ... But, for all that, his basic premise of fear fired by menace is so thin and so utterly unconvincing that the story just does not stand."

870:: "o seamlessly and inevitably does it fit the picture's design that it seems like an element of Hitchcock's storyboards", he writes. It is a score that "goes largely uncelebrated." 613:

over on page one, using Cook's treatment as a guide. The director told Ormonde to forget all about the book, then told her the story of the film himself, from beginning to end.

4536: 1138:

The character called Bruno Antony in the film is called Charles Anthony Bruno in the book. In the book, Bruno dies in a boating accident far removed from a merry-go-round.

1145:

to carry out his part of the crazed bargain..." writes Patrick McGilligan, "to head off the censors." In the novel, Guy is pursued and entrapped by a tenacious detective.

604:, to write the screenplay. Although Ormonde was without a formal screen credit, she did have two things in her favor: her recently published collection of short stories, 3988: 3400: 1085:, and film scholar Robert L. Carringer has written of a political subtext to the film. Treatment writer Cook used Guy to make the film "a parable quietly defiant of the 1021:

is suspended between tennis and politics, between his tramp wife and his senator's daughter, and Bruno is seeking desperately to establish an identity through violent,

1128:

Even before sewing up the rights for the novel, Hitchcock's mind was whirling with ideas about how to adapt it for the screen. He narrowed the geographic scope to the

364:

and strangles her while Guy is on the train to Washington, D.C. When Guy arrives home, Bruno informs him Miriam is dead and insists that he must now honor their deal.

1549: 693:

By month's end, they were back in California. Hitchcock had written exacting specifications for an amusement park, which was constructed on the ranch of director

916:

as the Warner Theatre, and in a dozen cities around the country. Hitchcock made personal appearances in most of them, and was often accompanied by his daughter.

391:

Some time later, another stranger on a train attempts to strike up conversation with Guy in the same way as Bruno did. Guy and Anne coldly walk away from him.

2886: 1101:

was busy investigating the suspicion that 'moral perverts' in the government were also undermining national security—going so far as to commission a study,

4780: 4765: 4720: 764:

hurled in deadly chaos. It is one of the moments in Hitchcock's work that continues to bring gasps from every audience and applause from cinema students.

2630: 552:

Securing the rights to the novel was the least of the hurdles Hitchcock would have to vault to get the property from printed page to screen. He got a

521:

scorn throughout the production. Granger described Hitchcock's attitude toward Roman as "disinterest" in the actress, and said he saw Hitchcock treat

3022: 4715: 2963: 4700: 4695: 513:. "Granger is softer and more elusive, more convincing as he tries to slip out of Bruno's conversational web instead of flatly rejecting him." 3395: 494: 1228:

praised the film writing "Hitchcock's study of the guilt that taints the human condition is just one cinematic masterstroke after another".

4190: 1344: 3326: 4730: 4725: 4680: 3968: 3238: 1200:

felt that Hitchcock was "at his best" and that the film "makes superior suspense entertainment," but called the story "unsatisfactory."

879:

the neck of a bust of daughter Patricia; the photo found its way into newspapers nationwide. He was also photographed adding the letter

4077: 3982: 3390: 3360: 626:

writing credit of Whitfield Cook and Czenzi Ormonde, but Warner Bros. wanted the cachet of the Chandler name and insisted it stay on.

4084: 4039: 3385: 4735: 1109:

Carringer has argued that the film was crucially shaped by the Congressional inquiries, making Guy the stand-in for victims of the

4760: 4685: 509:

for the Guy Haines role, but Holden declined. "Holden would have been all wrong—too sturdy, too put off by Bruno", wrote critic

4745: 4690: 4046: 735:

Hitchcock and Burks collaborated on a double printing technique to create this iconic shot still studied in film schools today.

2702: 4740: 4675: 3809: 3588: 3447: 3205: 3183: 3131: 3109: 3086: 2787: 2549: 1724: 1304: 2828: 4755: 4097: 924:

was a success, and Hitchcock was pronounced at the top of his form as master of the dark, melodramatic suspense thriller."

683: 4670: 1017:

and the infinite shades of gray in between, became Hitchcock's canvas for telling the story and painting his characters.

1081:. These events were the background to their work, while Hitchcock, Cook, Ormonde and Keon were preparing the script for 4750: 3157: 2661: 2595: 1120:

in 1948, "drafted the left-leaning Cook... expressly because he was comfortable with sexually ambiguous characters."

1274:

According to Warner Bros' records, the film earned $ 1,788,000 domestically and $ 1,144,000 in foreign territories.

908:

Theatre, with Alma, Jack Warner, Whitfield Cook and Barbara Keon in the Hitchcock party and it won a prize from the

516:

Warner Bros. wanted their own stars, already under contract, cast wherever possible. In the casting of Anne Morton,

4183: 3167: 1359: 1319: 859: 424: 301: 130: 4584: 4208: 4053: 3673: 3431: 3119: 2746: 384:

him. After winning a tennis match, Guy evades the police escort and heads for the amusement park to stop Bruno.

4710: 4576: 4552: 4528: 3353: 2994: 4770: 4665: 3405: 153: 2935: 682:

Hitchcock and his cast and crew decamped for the East Coast on October 17, 1950. For six days, they shot at

4339: 4251: 4227: 3665: 3380: 3299: 3223: 2909: 2540: 1745: 1667: 1499:

on September 25, 1996. The film switches the genders of the main characters from male to female, and stars

755:

projection, acting close-ups and other inserts, all of it seamlessly matched and blended under film editor

280: 93: 572:, all of whom thought the story too tawdry and were put off by Highsmith's first-timer status. Talks with 4785: 4445: 4398: 4176: 3524: 2878: 2611: 905: 2631:"The Screen In Review; 'Strangers on a Train,' Another Hitchcock Venture, Arrives at the Warner Theatre" 2562: 4568: 4504: 1466: 1216:

a "first-rate thriller" that he considers one of Hitchcock's five best films. He added the film in his

1074: 576:

got further, but here too communications ultimately broke down, and Hammett never took the assignment.

4660: 4157: 4116: 3963: 3548: 3346: 1025:

actions and flamboyance (shoes, lobster-patterned tie, name proclaimed to the world on his tiepin)."

739:

One of the most memorable single shots in the Hitchcock canon—it "is studied by film classes", says

4544: 4488: 4429: 4283: 3753: 3604: 3596: 1581: 1487: 1339: 706: 2847: 4560: 4374: 4355: 4103: 4032: 3944: 3495: 3479: 2723: 1355: 835: 698: 4512: 2779: 2769: 4608: 4291: 4064: 3936: 3801: 3713: 2940: 1527: 909: 839: 710: 373: 317: 268: 178: 723:

He also showed intense interest in a seldom-considered detail of character delineation: food.

4775: 4520: 4315: 4299: 4259: 4011: 3912: 3721: 3681: 3516: 3487: 3316: 3175: 2775: 2373:

Dellolio, Peter (2004). "Hitchcock and Kafka: Expressionist Themes in Strangers on a Train".

1586: 843: 702: 668: 3975: 3705: 3612: 3471: 3463: 3455: 2804: 1244: 984:

two boyfriends accompanying the woman about to be murdered, and two Hitchcocks in the film.

687: 672: 1712: 8: 4655: 4496: 4382: 4347: 4307: 4267: 4059: 3657: 3580: 3193: 1536: 1531: 1066: 913: 912:. It premiered in New York on July 3, marking the reopening of the extensively remodeled 679:. Exteriors would be shot on both coasts, and interiors on Warner Brothers' soundstages. 634:, who would continue to work with Hitchcock, shooting every Hitchcock picture through to 345: 321: 3320: 3304: 3286: 4705: 4616: 4480: 4406: 4275: 4199: 4110: 3841: 3833: 3636: 3620: 3439: 3270: 3070: 2999: 2674: 2635: 2535: 1662: 1637: 1372: 1263: 1191: 1177: 1154: 1129: 831: 774: 756: 642: 466: 285: 99: 2964:"David Fincher, 'Strangers on a Train,' and the Tricky Business of Remaking Hitchcock" 1540:

ranked the film at No. 75 on their list of "The 100 best thriller films of all time".

4323: 4235: 3928: 3920: 3873: 3777: 3729: 3697: 3628: 3332: 3292: 3265: 3201: 3179: 3153: 3127: 3105: 3082: 2783: 2657: 2591: 2545: 1720: 1500: 1492: 1406: 1238: 950: 802: 676: 3047: 4600: 4390: 4331: 4091: 3849: 3793: 3769: 3572: 3564: 3556: 3369: 3149: 2809: 2649: 1523:. In the film, two classmates conspire to take down the other's enemy as revenge. 1511: 1329: 1197: 585: 580: 573: 404: 368:

that he cannot remember their encounter. The police assign an escort to watch him.

275: 60: 47: 2771:

The Talented Miss Highsmith: The Secret Life and Serious Art of Patricia Highsmith

4437: 4018: 3745: 3689: 3540: 2679: 1908: 1504: 1482: 1454: 1431: 1204: 1186: 993:

light, order, and vitality with the world of darkness, chaos, lunacy and death."

793: 569: 460: 163: 959: 945: 531:(1948). "He had to have one person in each film he could harass", Granger said. 4025: 3825: 3101: 3078: 2936:"Two Men Inspired By 'Throw Momma from the Train' Fail To Get Away With Murder" 2583: 1750: 1149: 1065:

Although its first rumblings came in 1947 with the trial and conviction of the

694: 664: 601: 565: 557: 553: 517: 506: 430: 412: 407:, Hitchcock boards the train in Metcalf after Farley Granger's character exits. 361: 293: 120: 78: 65: 30: 4649: 4243: 4139: 3857: 3817: 3310: 1449:, which gives an imagined account of a series of meetings between Hitchcock ( 1446: 1423: 1415: 1299: 1148:

The merry-go-round scene is not in the book, but is taken from the climax of

769: 651: 636: 522: 484: 454: 436: 1534:

as being "culturally, historically, or aesthetically significant". In 2022,

731: 4592: 4134: 4070: 4005: 3865: 3141: 2814: 2707: 1471: 1427: 1309: 1224: 1218: 895: 867: 740: 631: 619: 590: 472: 448: 442: 399: 289: 189: 143: 690:—which became Guy's hometown Metcalf—and in spots around Washington, D.C. 4472: 3889: 3785: 3737: 2990: 2837:- Please note figures are for the US and Canada and are rentals not gross 1741: 1450: 1419: 1209: 1116: 1098: 1070: 976: 527: 510: 498: 478: 3276: 3259: 3023:"Do Revenge review – biting Netflix comedy updates Strangers on a Train" 996:

Guy and Bruno are in some ways doubles, but in many more ways, they are

4634: 2968: 1515: 1411: 1110: 1078: 561: 418: 312: 297: 125: 887:

on the official studio poster for the film, thus changing the word to

4168: 1526:

In 2021, the film was selected for preservation in the United States

1094: 747: 597: 271: 36: 3338: 3282: 2852: 1086: 1073:

was gathering steam in 1950, with the espionage-related arrests of

937: 324:

as being "culturally, historically, or aesthetically significant".

308: 1375:(Lyn Erhard), Hitchcock himself did not like either the "British" 1203:

In contrast, modern reviews have been overwhelmingly positive. On

3532: 1390: 600:, but learned he was unavailable. Hecht suggested his assistant, 809:

Nevertheless, the score does pick up on the ubiquitous theme of

701:. The amusement park exteriors were shot there and at an actual 3881: 1457:), as they unsuccessfully attempt to create the screenplay for 583:, who had earned an Oscar nomination for his first screenplay, 1103:

Employment of Homosexuals and Other Sex Perverts in Government

1135:

Hitchcock's biggest changes were in his two lead characters:

975:

play", he says charmingly. In Hitchcock's cameo he carries a

2238: 2236: 2234: 2232: 2053: 2051: 2049: 2015: 2013: 2011: 2009: 2007: 2005: 1980: 1978: 1976: 1974: 1961: 1959: 1890: 1888: 1875: 1873: 1871: 1869: 1867: 1790: 1788: 1786: 1784: 1782: 1780: 1778: 1550:

Influence on Carol Burnett's Star on Hollywood Walk of Fame

1478:, which is also watched by DeVito's character in the film. 380:

but Bruno threatens to punish Guy for breaking their deal.

2332: 2330: 2328: 2294: 2292: 2255: 2253: 2251: 2159: 2157: 2129: 2127: 2125: 2123: 2108: 3075:

It's Only a Movie: Alfred Hitchcock, A Personal Biography

2229: 2169: 2046: 2002: 1971: 1956: 1923: 1885: 1864: 1496: 1256: 933: 1775: 1393:

in 2012 with the same contents as the 2004 DVD edition.

2512: 2396: 2394: 2392: 2390: 2388: 2353: 2351: 2349: 2347: 2345: 2325: 2322:

Warner Bros. press release #HO9-1251, November 30, 1950

2304: 2289: 2277: 2265: 2248: 2217: 2154: 2144: 2142: 2120: 2098: 2096: 2094: 2092: 2090: 2075: 2036: 2034: 2032: 2030: 2028: 1990: 1946: 1944: 1942: 1940: 1938: 1854: 1852: 1850: 1848: 1846: 1809: 1807: 1805: 1803: 1043:

characters who are either good or temporarily dominant.

497:

occurs 11 minutes into the film. He is seen carrying a

2813:(Interview). Vol. 75, no. 2. Interviewed by 2490: 2488: 2449: 2427: 2425: 2423: 2421: 2205: 1765: 1763: 1761: 1693: 1691: 1689: 1687: 1685: 3196:(2004). Marshall Deutelbaum; Leland A. Poage (eds.). 3146:

The Dark Side of Genius: The Life of Alfred Hitchcock

746:

Hitchcock was, above all, the master of great visual

650:

or his wines." Robert Burks received the film's sole

2473: 2406: 2385: 2342: 2193: 2181: 2139: 2087: 2063: 2025: 1935: 1843: 1831: 1800: 944:

The two characters, Guy and Bruno, can be viewed as

556:

that pleased him on the second attempt, from writer

2500: 2485: 2461: 2418: 1758: 1682: 1236:supernatural elements. Even classic endeavors like 1093:That hysteria was targeting homosexuals along with 2802: 445:(credited as Laura Elliott) as Miriam Joyce Haines 1012:It is those flaws that set up the real themes of 4647: 2437: 800:. While he had previous Hitchcock experience on 654:nomination for its black and white photography. 2582: 3124:Alfred Hitchcock: A Life in Darkness and Light 2703:"My Favourite Hitchcock: Strangers on a Train" 2563:"Armchair Audience: The Moving Toyshop (1946)" 2560: 958:is one of many Hitchcock films to explore the 4184: 3354: 2817:. pp. 104–5 – via geraldpeary.com. 1123: 750:, and "erhaps the most memorable sequence in 686:in New York City, at the railroad station at 490:Jack Cushingham as Fred Reynolds (uncredited) 2872: 2870: 1657: 1655: 1410:on two occasions: on December 3, 1951, with 675:. While there, the crew had done some other 288:. It was shot in late 1950, and released by 2368: 2366: 1610: 1007: 4781:United States National Film Registry films 4766:Films with screenplays by Raymond Chandler 4721:Films based on works by Patricia Highsmith 4191: 4177: 4078:Alfred Hitchcock: The Art of Making Movies 3361: 3347: 3319: 3303: 3285: 3269: 3228:Hitchcock's Rich Imagery Reigning Supreme" 3118: 2744: 2242: 2175: 2057: 2019: 1984: 1965: 1929: 1894: 1879: 1794: 1032: 29: 4085:Alfred Hitchcock and the Making of Psycho 4040:German Concentration Camps Factual Survey 3048:"The 100 best thriller films of all time" 2867: 1826:Strangers on a Train: The Victim's P.O.V. 1652: 1567: 1565: 1248:seem directly fueled by this concept..." 862:had kinder words for Tiomkin's score for 3200:. Hoboken, New Jersey: Wiley-Blackwell. 3166: 3069: 2907: 2876: 2767: 2628: 2531: 2529: 2527: 2372: 2363: 2336: 2310: 2298: 2283: 2271: 2259: 2223: 2211: 2163: 2133: 2114: 1996: 1611:Tartaglione, Nancy (December 14, 2021). 873: 825:But perhaps the most memorable music in 730: 398: 331: 4716:Films based on American thriller novels 2933: 2576: 2554: 2544:. New York: W.W. Norton and Co. (2001) 1736: 1734: 1732: 1708: 1706: 1663:"Strangers on a Train (1951) – Credits" 1365: 4648: 4198: 3020: 2961: 2700: 1562: 667:finals held August 25–27, 1950 at the 311:who meet on a train, one of whom is a 4701:English-language crime thriller films 4696:American psychological thriller films 4172: 3448:The Lodger: A Story of the London Fog 3342: 3140: 3095: 3021:Horton, Adrian (September 16, 2022). 2989: 2910:"Strangers on a Train Blu-ray Review" 2908:Kauffman, Jeffrey (October 6, 2012). 2721: 2524: 2518: 2479: 2412: 2400: 2357: 2199: 2187: 2148: 2102: 2081: 2069: 2040: 1950: 1906: 1858: 1837: 1813: 1769: 1740: 1697: 1606: 1604: 1441:broadcast on September 29, 2011, was 1166: 4098:Remakes of films by Alfred Hitchcock 3368: 3192: 2995:"Review: 'Once You Meet a Stranger'" 2877:Desowitz, Bill (November 17, 1996). 2701:Shoard, Catherine (August 2, 2012). 2561:Swanson, Peter (February 17, 2012). 2506: 2494: 2467: 2455: 2443: 2431: 1729: 1703: 1325:Outstanding Directing – Feature Film 1251:Almar Haflidason was effusive about 1060: 927: 4047:Alfred Hitchcock's Mystery Magazine 2879:"Same Strangers, Different 'Train'" 2805:"Interview with Patricia Highsmith" 2745:Haflidason, Almar (June 25, 2001). 1746:"Strangers on a Train movie review" 904:previewed on March 5, 1951, at the 495:Alfred Hitchcock's cameo appearance 13: 4731:Films produced by Alfred Hitchcock 4726:Films directed by Alfred Hitchcock 4681:1950s psychological thriller films 3216: 2962:Bailey, Jason (January 14, 2015). 2934:Gardner, Eriq (January 29, 2015). 2889:from the original on March 5, 2016 2848:"Strangers on a Train > Awards" 2803:Patricia Highsmith (Spring 1988). 1601: 1574: 1404:was adapted for the radio program 796:was Jack Warner's choice to score 14: 4797: 3253: 2829:"The Top Box Office Hits of 1951" 2629:Crowther, Bosley (July 4, 1951). 543: 4153: 4152: 2652:, with John Walker, ed. (1994). 1719:. New York: Simon and Schuster. 1320:Directors Guild of America Award 1097:as enemies of the state.... The 4736:Films scored by Dimitri Tiomkin 3062: 3040: 3014: 2983: 2955: 2927: 2901: 2840: 2821: 2796: 2761: 2738: 2715: 2694: 2667: 2643: 2622: 2604: 2316: 1900: 1819: 657: 4761:Films shot in Washington, D.C. 4686:American black-and-white films 3126:. New York: Harper Perennial. 2835:. January 2, 1952. p. 70. 2656:. New York: Harper Perennial. 1491:, was written and directed by 1422:, and on April 12, 1954, with 1340:National Board of Review Award 932:The film includes a number of 640:(1964), with the exception of 596:Next, Hitchcock tried to hire 1: 4746:Films set in Washington, D.C. 4691:American crime thriller films 2747:"Strangers on a Train (1951)" 2590:. Vintage. pp. 195–200. 1907:Krohn, Bill (June 23, 2011). 1613:"National Film Registry Adds 1582:"Strangers on a Train (1951)" 1555: 1360:AFI's 100 Years...100 Thrills 1269: 538: 16:1951 film by Alfred Hitchcock 4741:Films set in amusement parks 4676:1950s English-language films 4340:People Who Knock on the Door 4054:Alfred Hitchcock's Anthology 3300:AFI Catalog of Feature Films 1668:AFI Catalog of Feature Films 1277: 1161: 1089:hysteria sweeping America." 487:as Det. Hammond (uncredited) 7: 4756:Films shot in New York City 4446:Mermaids on the Golf Course 4399:The Boy Who Followed Ripley 1543: 525:the same way on the set of 501:as he climbs onto a train. 292:on June 30, 1951, starring 10: 4802: 4671:1950s crime thriller films 1467:Throw Momma from the Train 1358:listed the film as #32 in 1171:Upon its release in 1951, 1124:Differences from the novel 1075:Julius and Ethel Rosenberg 965: 278:, based on the 1950 novel 4751:Films shot in Connecticut 4627: 4456: 4421: 4366: 4239:(as Claire Morgan) (1952) 4222: 4215: 4206: 4148: 4127: 3998: 3984:Alfred Hitchcock Presents 3964:Alfred Hitchcock Presents 3955: 3904: 3810:The Man Who Knew Too Much 3647: 3589:The Man Who Knew Too Much 3506: 3421: 3414: 3376: 1396: 1328: 1114:so sharply yet subtly in 274:produced and directed by 252: 244: 236: 228: 218: 195: 185: 169: 159: 149: 139: 113: 105: 88: 84: 74: 53: 43: 28: 23: 4585:The Two Faces of January 4545:Once You Meet a Stranger 4489:Once You Kiss a Stranger 4430:Little Tales of Misogyny 4284:The Two Faces of January 4140:Pat Hitchcock (daughter) 1488:Once You Meet a Stranger 1453:) and Raymond Chandler ( 1379:the "American" version: 1231:David Keyes, writing at 1175:received mixed reviews. 1008:Darkness–light continuum 787: 606:Laughter From Downstairs 589:, in collaboration with 403:In one of his trademark 4553:The Talented Mr. Ripley 4422:Short story collections 4375:The Talented Mr. Ripley 4356:Small g: a Summer Idyll 3945:The Fighting Generation 3391:Themes and plot devices 2768:Schenkar, Joan (2009). 1828:(2004), DVD documentary 1519:has a plot inspired by 1356:American Film Institute 1033:Light and dark onscreen 836:Carolina in the Morning 707:Canoga Park, California 394: 327: 307:The story concerns two 204:June 30, 1951 4065:Transatlantic Pictures 3802:The Trouble with Harry 2993:(September 13, 1996). 2941:The Hollywood Reporter 2724:"Strangers on a Train" 2675:"Strangers on a Train" 2654:Halliwell's Film Guide 2612:"Strangers on a Train" 1619:Fellowship Of The Ring 1528:National Film Registry 1386: 1107: 1045: 986: 910:Screen Directors Guild 853: 840:Oh, You Beautiful Doll 766: 736: 729: 711:South Gate, California 699:Chatsworth, California 673:Forest Hills, New York 615: 481:as Detective Hennessey 463:as Police Capt. Turley 408: 352: 318:National Film Registry 269:psychological thriller 179:Transatlantic Pictures 4711:Films about murderers 4316:The Tremor of Forgery 4300:A Suspension of Mercy 4260:A Game for the Living 3913:Always Tell Your Wife 3666:Foreign Correspondent 3226:Strangers on a Train: 3176:Yale University Press 3096:Ebert, Roger (2006). 2722:Keyes, David (2002). 1717:Hitchcock By Truffaut 1381: 1091: 1040: 981: 874:Promotion and release 848: 761: 734: 725: 669:West Side Tennis Club 610: 579:Hitchcock then tried 402: 343: 4771:Rail transport films 4666:1950s American films 4465:Strangers on a Train 4228:Strangers on a Train 4033:Lord Camber's Ladies 3976:Incident at a Corner 3762:Strangers on a Train 3674:Mr. & Mrs. Smith 3525:Juno and the Paycock 3328:Strangers on a Train 3312:Strangers on a Train 3294:Strangers on a Train 3278:Strangers on a Train 3261:Strangers on a Train 3241:Strangers On A Train 2541:Strangers on a Train 1623:Strangers On A Train 1521:Strangers on a Train 1476:Strangers on a Train 1459:Strangers on a Train 1402:Strangers on a Train 1366:Alternative versions 1253:Strangers on a Train 1214:Strangers on a Train 1173:Strangers on a Train 956:Strangers on a Train 922:Strangers on a Train 902:Strangers on a Train 846:"—to the soundtrack: 798:Strangers on a Train 752:Strangers on a Train 717:Strangers on a Train 688:Danbury, Connecticut 469:as Professor Collins 350:Strangers on a Train 281:Strangers on a Train 264:Strangers on a Train 94:Strangers on a Train 24:Strangers on a Train 4569:Ripley Under Ground 4505:This Sweet Sickness 4497:The American Friend 4383:Ripley Under Ground 4348:Found in the Street 4308:Those Who Walk Away 4268:This Sweet Sickness 4135:Alma Reville (wife) 4060:Three Investigators 3581:Waltzes from Vienna 3432:The Pleasure Garden 3386:Unproduced projects 3120:McGilligan, Patrick 3098:The Great Movies II 3071:Chandler, Charlotte 2536:Highsmith, Patricia 1744:(January 1, 2004). 1532:Library of Congress 1443:Strangers on a Film 1305:Best Cinematography 705:at a fairground in 322:Library of Congress 267:is a 1951 American 4786:Warner Bros. films 4577:The Cry of the Owl 4529:The Cry of the Owl 4407:Ripley Under Water 4276:The Cry of the Owl 4200:Patricia Highsmith 4111:Hitchcock/Truffaut 3834:North by Northwest 3621:Young and Innocent 3440:The Mountain Eagle 3317:TCM Movie Database 3247:Culturevulture.net 3198:A Hitchcock Reader 2776:St. Martin's Press 2636:The New York Times 2588:The Moving Toyshop 2521:, pp. 349–50. 2458:, pp. 172–73. 2117:, pp. 201–02. 2084:, pp. 339–40. 1913:– Historical Note" 1713:Truffaut, François 1638:Deadline Hollywood 1615:Return Of The Jedi 1373:Charlotte Chandler 1264:Patricia Highsmith 1192:The New York Times 1167:Critical reception 1155:The Moving Toyshop 1130:Northeast corridor 832:The Band Played On 775:Charlotte Chandler 757:William H. Ziegler 737: 475:as Mrs. Cunningham 437:Patricia Hitchcock 409: 353: 286:Patricia Highsmith 100:Patricia Highsmith 4643: 4642: 4417: 4416: 4236:The Price of Salt 4166: 4165: 3929:Aventure Malgache 3921:An Elastic Affair 3900: 3899: 3778:Dial M for Murder 3730:The Paradine Case 3698:Shadow of a Doubt 3629:The Lady Vanishes 3472:The Farmer's Wife 3401:Awards and honors 3333:Lux Radio Theater 3234:, April 20, 2008. 3207:978-1-4051-5556-4 3185:978-0-300-13618-0 3172:Hitchcock's Music 3133:978-0-06-098827-2 3111:978-0-7679-1986-9 3088:978-1-55783-692-2 3054:. March 23, 2022. 2883:Los Angeles Times 2810:Sight & Sound 2789:978-0-312-30375-4 2726:. Cinemaphile.org 2650:Halliwell, Leslie 2550:978-0-393-32198-2 2375:Midwest Quarterly 1725:978-0-671-60429-5 1501:Jacqueline Bisset 1493:Tommy Lee Wallace 1407:Lux Radio Theatre 1353: 1352: 1077:and the trial of 1061:Political subtext 951:Shadow of a Doubt 928:Themes and motifs 803:Shadow of a Doubt 677:location scouting 439:as Barbara Morton 433:as Senator Morton 341: 260: 259: 4793: 4661:1951 crime films 4601:A Kind of Murder 4537:The Story Teller 4220: 4219: 4193: 4186: 4179: 4170: 4169: 4156: 4155: 3794:To Catch a Thief 3573:Number Seventeen 3565:Rich and Strange 3419: 3418: 3370:Alfred Hitchcock 3363: 3356: 3349: 3340: 3339: 3335:: April 12, 1954 3323: 3307: 3289: 3273: 3237:Schneider, Dan. 3232:Noir of the Week 3211: 3189: 3163: 3150:Ballantine Books 3137: 3115: 3092: 3056: 3055: 3044: 3038: 3037: 3035: 3033: 3018: 3012: 3011: 3009: 3007: 2987: 2981: 2980: 2978: 2976: 2959: 2953: 2952: 2950: 2948: 2931: 2925: 2924: 2922: 2920: 2905: 2899: 2898: 2896: 2894: 2874: 2865: 2864: 2862: 2860: 2844: 2838: 2836: 2825: 2819: 2818: 2800: 2794: 2793: 2765: 2759: 2758: 2756: 2754: 2742: 2736: 2735: 2733: 2731: 2719: 2713: 2712: 2698: 2692: 2691: 2689: 2687: 2671: 2665: 2647: 2641: 2640: 2626: 2620: 2619: 2608: 2602: 2601: 2580: 2574: 2573: 2571: 2569: 2558: 2552: 2533: 2522: 2516: 2510: 2504: 2498: 2492: 2483: 2477: 2471: 2465: 2459: 2453: 2447: 2441: 2435: 2429: 2416: 2410: 2404: 2398: 2383: 2382: 2370: 2361: 2355: 2340: 2334: 2323: 2320: 2314: 2308: 2302: 2296: 2287: 2281: 2275: 2269: 2263: 2257: 2246: 2240: 2227: 2221: 2215: 2209: 2203: 2197: 2191: 2185: 2179: 2173: 2167: 2161: 2152: 2146: 2137: 2131: 2118: 2112: 2106: 2100: 2085: 2079: 2073: 2067: 2061: 2055: 2044: 2038: 2023: 2017: 2000: 1994: 1988: 1982: 1969: 1963: 1954: 1948: 1933: 1927: 1921: 1920: 1917:Senses of Cinema 1904: 1898: 1892: 1883: 1877: 1862: 1856: 1841: 1835: 1829: 1823: 1817: 1811: 1798: 1792: 1773: 1767: 1756: 1755: 1738: 1727: 1710: 1701: 1695: 1680: 1679: 1677: 1675: 1659: 1650: 1649: 1647: 1645: 1608: 1599: 1598: 1596: 1594: 1578: 1572: 1569: 1512:Netflix original 1474:was inspired by 1330:Alfred Hitchcock 1282: 1281: 1198:Leslie Halliwell 1067:"Hollywood Ten," 868:biographer Spoto 586:Double Indemnity 581:Raymond Chandler 574:Dashiell Hammett 342: 276:Alfred Hitchcock 211: 209: 109:Alfred Hitchcock 61:Raymond Chandler 48:Alfred Hitchcock 33: 21: 20: 4801: 4800: 4796: 4795: 4794: 4792: 4791: 4790: 4646: 4645: 4644: 4639: 4623: 4452: 4438:The Black House 4413: 4362: 4211: 4202: 4197: 4167: 4162: 4144: 4123: 4019:The Short Night 3994: 3951: 3896: 3746:Under Capricorn 3649: 3643: 3541:Elstree Calling 3508: 3502: 3423: 3410: 3372: 3367: 3256: 3219: 3217:Further reading 3214: 3208: 3186: 3160: 3134: 3112: 3089: 3065: 3060: 3059: 3046: 3045: 3041: 3031: 3029: 3019: 3015: 3005: 3003: 2988: 2984: 2974: 2972: 2960: 2956: 2946: 2944: 2932: 2928: 2918: 2916: 2906: 2902: 2892: 2890: 2875: 2868: 2858: 2856: 2846: 2845: 2841: 2827: 2826: 2822: 2801: 2797: 2790: 2766: 2762: 2752: 2750: 2743: 2739: 2729: 2727: 2720: 2716: 2699: 2695: 2685: 2683: 2680:Rotten Tomatoes 2673: 2672: 2668: 2648: 2644: 2627: 2623: 2610: 2609: 2605: 2598: 2584:Crispin, Edmund 2581: 2577: 2567: 2565: 2559: 2555: 2534: 2525: 2517: 2513: 2505: 2501: 2493: 2486: 2478: 2474: 2466: 2462: 2454: 2450: 2442: 2438: 2430: 2419: 2411: 2407: 2399: 2386: 2371: 2364: 2356: 2343: 2335: 2326: 2321: 2317: 2309: 2305: 2297: 2290: 2282: 2278: 2270: 2266: 2258: 2249: 2243:McGilligan 2004 2241: 2230: 2222: 2218: 2210: 2206: 2198: 2194: 2186: 2182: 2176:McGilligan 2004 2174: 2170: 2162: 2155: 2147: 2140: 2132: 2121: 2113: 2109: 2101: 2088: 2080: 2076: 2068: 2064: 2058:McGilligan 2004 2056: 2047: 2039: 2026: 2020:McGilligan 2004 2018: 2003: 1995: 1991: 1985:McGilligan 2004 1983: 1972: 1966:McGilligan 2004 1964: 1957: 1949: 1936: 1930:McGilligan 2004 1928: 1924: 1905: 1901: 1895:McGilligan 2004 1893: 1886: 1880:McGilligan 2004 1878: 1865: 1857: 1844: 1836: 1832: 1824: 1820: 1812: 1801: 1795:McGilligan 2004 1793: 1776: 1768: 1759: 1739: 1730: 1711: 1704: 1696: 1683: 1673: 1671: 1661: 1660: 1653: 1643: 1641: 1609: 1602: 1592: 1590: 1580: 1579: 1575: 1570: 1563: 1558: 1546: 1505:Theresa Russell 1495:, and aired on 1483:television film 1455:Patrick Stewart 1432:Robert Cummings 1399: 1368: 1280: 1272: 1255:in 2001 at the 1222:list. In 2012, 1205:Rotten Tomatoes 1187:Bosley Crowther 1169: 1164: 1126: 1063: 1035: 1010: 968: 930: 906:Huntington Park 876: 794:Dimitri Tiomkin 790: 660: 570:Thornton Wilder 546: 541: 461:Howard St. John 427:as Bruno Antony 397: 332: 330: 221: 214: 207: 205: 198: 181: 174: 172: 164:Dimitri Tiomkin 154:William Ziegler 135: 97: 70: 39: 17: 12: 11: 5: 4799: 4789: 4788: 4783: 4778: 4773: 4768: 4763: 4758: 4753: 4748: 4743: 4738: 4733: 4728: 4723: 4718: 4713: 4708: 4703: 4698: 4693: 4688: 4683: 4678: 4673: 4668: 4663: 4658: 4641: 4640: 4638: 4637: 4631: 4629: 4625: 4624: 4622: 4621: 4613: 4605: 4597: 4589: 4581: 4573: 4565: 4557: 4549: 4541: 4533: 4525: 4521:The Glass Cell 4517: 4513:A Dog's Ransom 4509: 4501: 4493: 4485: 4477: 4469: 4460: 4458: 4454: 4453: 4451: 4450: 4442: 4434: 4425: 4423: 4419: 4418: 4415: 4414: 4412: 4411: 4403: 4395: 4387: 4379: 4370: 4368: 4364: 4363: 4361: 4360: 4352: 4344: 4336: 4328: 4324:A Dog's Ransom 4320: 4312: 4304: 4296: 4292:The Glass Cell 4288: 4280: 4272: 4264: 4256: 4248: 4240: 4232: 4223: 4217: 4213: 4212: 4207: 4204: 4203: 4196: 4195: 4188: 4181: 4173: 4164: 4163: 4161: 4160: 4149: 4146: 4145: 4143: 4142: 4137: 4131: 4129: 4125: 4124: 4122: 4121: 4120: 4119: 4107: 4100: 4095: 4088: 4081: 4074: 4067: 4062: 4057: 4050: 4043: 4036: 4029: 4026:The Blackguard 4022: 4015: 4008: 4002: 4000: 3996: 3995: 3993: 3992: 3980: 3972: 3959: 3957: 3953: 3952: 3950: 3949: 3941: 3933: 3925: 3917: 3908: 3906: 3902: 3901: 3898: 3897: 3895: 3894: 3886: 3878: 3870: 3862: 3854: 3846: 3838: 3830: 3822: 3814: 3806: 3798: 3790: 3782: 3774: 3766: 3758: 3750: 3742: 3734: 3726: 3718: 3710: 3702: 3694: 3686: 3678: 3670: 3662: 3653: 3651: 3645: 3644: 3642: 3641: 3633: 3625: 3617: 3609: 3601: 3593: 3585: 3577: 3569: 3561: 3553: 3545: 3537: 3529: 3521: 3512: 3510: 3504: 3503: 3501: 3500: 3492: 3484: 3476: 3468: 3460: 3452: 3444: 3436: 3427: 3425: 3416: 3412: 3411: 3409: 3408: 3403: 3398: 3393: 3388: 3383: 3377: 3374: 3373: 3366: 3365: 3358: 3351: 3343: 3337: 3336: 3324: 3308: 3302: 3290: 3274: 3255: 3254:External links 3252: 3251: 3250: 3235: 3218: 3215: 3213: 3212: 3206: 3190: 3184: 3168:Sullivan, Jack 3164: 3158: 3138: 3132: 3116: 3110: 3102:Broadway Press 3093: 3087: 3079:Applause Books 3066: 3064: 3061: 3058: 3057: 3039: 3013: 2982: 2954: 2926: 2900: 2866: 2839: 2820: 2795: 2788: 2760: 2737: 2714: 2693: 2666: 2642: 2621: 2603: 2596: 2575: 2553: 2523: 2511: 2509:, p. 180. 2499: 2497:, p. 175. 2484: 2482:, p. 430. 2472: 2470:, p. 173. 2460: 2448: 2436: 2434:, p. 172. 2417: 2415:, p. 350. 2405: 2403:, p. 349. 2384: 2362: 2360:, p. 354. 2341: 2339:, p. 202. 2324: 2315: 2313:, p. 203. 2303: 2301:, p. 162. 2288: 2286:, p. 159. 2276: 2274:, p. 156. 2264: 2262:, p. 157. 2247: 2245:, p. 453. 2228: 2226:, p. 194. 2216: 2204: 2202:, p. 348. 2192: 2190:, p. 429. 2180: 2178:, p. 242. 2168: 2166:, p. 198. 2153: 2151:, p. 352. 2138: 2136:, p. 197. 2119: 2107: 2105:, p. 353. 2086: 2074: 2072:, p. 343. 2062: 2060:, p. 452. 2045: 2043:, p. 347. 2024: 2022:, p. 443. 2001: 1999:, p. 192. 1989: 1987:, p. 449. 1970: 1968:, p. 447. 1955: 1953:, p. 344. 1934: 1932:, p. 445. 1922: 1899: 1897:, p. 444. 1884: 1882:, p. 442. 1863: 1861:, p. 342. 1842: 1840:, p. 341. 1830: 1818: 1816:, p. 346. 1799: 1797:, p. 450. 1774: 1772:, p. 345. 1757: 1751:RogerEbert.com 1728: 1702: 1700:, p. 428. 1681: 1651: 1600: 1573: 1560: 1559: 1557: 1554: 1553: 1552: 1545: 1542: 1464:The 1987 film 1439:Afternoon Play 1437:BBC Radio 4's 1398: 1395: 1367: 1364: 1351: 1350: 1347: 1342: 1336: 1335: 1332: 1327: 1322: 1316: 1315: 1312: 1307: 1302: 1296: 1295: 1292: 1289: 1286: 1279: 1276: 1271: 1268: 1168: 1165: 1163: 1160: 1152:'s 1946 novel 1150:Edmund Crispin 1125: 1122: 1069:the so-called 1062: 1059: 1034: 1031: 1009: 1006: 967: 964: 929: 926: 914:Strand Theatre 875: 872: 789: 786: 703:Tunnel of Love 665:1950 Davis Cup 659: 656: 602:Czenzi Ormonde 566:John Steinbeck 558:Whitfield Cook 545: 544:Pre-production 542: 540: 537: 535:other actors. 518:Jack L. Warner 507:William Holden 492: 491: 488: 482: 476: 470: 464: 458: 452: 451:as Mrs. Antony 446: 440: 434: 431:Leo G. Carroll 428: 422: 421:as Anne Morton 416: 413:Farley Granger 396: 393: 362:amusement park 329: 326: 294:Farley Granger 258: 257: 254: 250: 249: 246: 242: 241: 238: 234: 233: 230: 226: 225: 222: 219: 216: 215: 213: 212: 201: 199: 196: 193: 192: 187: 186:Distributed by 183: 182: 177: 175: 170: 167: 166: 161: 157: 156: 151: 147: 146: 141: 140:Cinematography 137: 136: 134: 133: 128: 123: 121:Farley Granger 117: 115: 111: 110: 107: 103: 102: 90: 86: 85: 82: 81: 79:Whitfield Cook 76: 72: 71: 69: 68: 66:Czenzi Ormonde 63: 57: 55: 51: 50: 45: 41: 40: 34: 26: 25: 15: 9: 6: 4: 3: 2: 4798: 4787: 4784: 4782: 4779: 4777: 4774: 4772: 4769: 4767: 4764: 4762: 4759: 4757: 4754: 4752: 4749: 4747: 4744: 4742: 4739: 4737: 4734: 4732: 4729: 4727: 4724: 4722: 4719: 4717: 4714: 4712: 4709: 4707: 4704: 4702: 4699: 4697: 4694: 4692: 4689: 4687: 4684: 4682: 4679: 4677: 4674: 4672: 4669: 4667: 4664: 4662: 4659: 4657: 4654: 4653: 4651: 4636: 4633: 4632: 4630: 4626: 4619: 4618: 4614: 4611: 4610: 4606: 4603: 4602: 4598: 4595: 4594: 4590: 4587: 4586: 4582: 4579: 4578: 4574: 4571: 4570: 4566: 4563: 4562: 4561:Ripley's Game 4558: 4555: 4554: 4550: 4547: 4546: 4542: 4539: 4538: 4534: 4531: 4530: 4526: 4523: 4522: 4518: 4515: 4514: 4510: 4507: 4506: 4502: 4499: 4498: 4494: 4491: 4490: 4486: 4483: 4482: 4478: 4475: 4474: 4470: 4467: 4466: 4462: 4461: 4459: 4455: 4448: 4447: 4443: 4440: 4439: 4435: 4432: 4431: 4427: 4426: 4424: 4420: 4409: 4408: 4404: 4401: 4400: 4396: 4393: 4392: 4391:Ripley's Game 4388: 4385: 4384: 4380: 4377: 4376: 4372: 4371: 4369: 4367:Ripley series 4365: 4358: 4357: 4353: 4350: 4349: 4345: 4342: 4341: 4337: 4334: 4333: 4332:Edith's Diary 4329: 4326: 4325: 4321: 4318: 4317: 4313: 4310: 4309: 4305: 4302: 4301: 4297: 4294: 4293: 4289: 4286: 4285: 4281: 4278: 4277: 4273: 4270: 4269: 4265: 4262: 4261: 4257: 4254: 4253: 4249: 4246: 4245: 4244:The Blunderer 4241: 4238: 4237: 4233: 4230: 4229: 4225: 4224: 4221: 4218: 4214: 4210: 4205: 4201: 4194: 4189: 4187: 4182: 4180: 4175: 4174: 4171: 4159: 4151: 4150: 4147: 4141: 4138: 4136: 4133: 4132: 4130: 4126: 4118: 4115: 4114: 4113: 4112: 4108: 4106: 4105: 4101: 4099: 4096: 4094: 4093: 4089: 4087: 4086: 4082: 4080: 4079: 4075: 4073: 4072: 4068: 4066: 4063: 4061: 4058: 4056: 4055: 4051: 4049: 4048: 4044: 4042: 4041: 4037: 4035: 4034: 4030: 4028: 4027: 4023: 4021: 4020: 4016: 4014: 4013: 4009: 4007: 4004: 4003: 4001: 3997: 3990: 3986: 3985: 3981: 3978: 3977: 3973: 3970: 3966: 3965: 3961: 3960: 3958: 3954: 3947: 3946: 3942: 3939: 3938: 3934: 3931: 3930: 3926: 3923: 3922: 3918: 3915: 3914: 3910: 3909: 3907: 3903: 3892: 3891: 3887: 3884: 3883: 3879: 3876: 3875: 3871: 3868: 3867: 3863: 3860: 3859: 3855: 3852: 3851: 3847: 3844: 3843: 3839: 3836: 3835: 3831: 3828: 3827: 3823: 3820: 3819: 3818:The Wrong Man 3815: 3812: 3811: 3807: 3804: 3803: 3799: 3796: 3795: 3791: 3788: 3787: 3783: 3780: 3779: 3775: 3772: 3771: 3767: 3764: 3763: 3759: 3756: 3755: 3751: 3748: 3747: 3743: 3740: 3739: 3735: 3732: 3731: 3727: 3724: 3723: 3719: 3716: 3715: 3711: 3708: 3707: 3703: 3700: 3699: 3695: 3692: 3691: 3687: 3684: 3683: 3679: 3676: 3675: 3671: 3668: 3667: 3663: 3660: 3659: 3655: 3654: 3652: 3646: 3639: 3638: 3634: 3631: 3630: 3626: 3623: 3622: 3618: 3615: 3614: 3610: 3607: 3606: 3602: 3599: 3598: 3594: 3591: 3590: 3586: 3583: 3582: 3578: 3575: 3574: 3570: 3567: 3566: 3562: 3559: 3558: 3554: 3551: 3550: 3549:The Skin Game 3546: 3543: 3542: 3538: 3535: 3534: 3530: 3527: 3526: 3522: 3519: 3518: 3514: 3513: 3511: 3505: 3498: 3497: 3493: 3490: 3489: 3485: 3482: 3481: 3477: 3474: 3473: 3469: 3466: 3465: 3461: 3458: 3457: 3453: 3450: 3449: 3445: 3442: 3441: 3437: 3434: 3433: 3429: 3428: 3426: 3420: 3417: 3415:Feature films 3413: 3407: 3404: 3402: 3399: 3397: 3394: 3392: 3389: 3387: 3384: 3382: 3379: 3378: 3375: 3371: 3364: 3359: 3357: 3352: 3350: 3345: 3344: 3341: 3334: 3330: 3329: 3325: 3322: 3318: 3314: 3313: 3309: 3306: 3301: 3298: 3296: 3295: 3291: 3288: 3284: 3280: 3279: 3275: 3272: 3267: 3263: 3262: 3258: 3257: 3248: 3244: 3242: 3236: 3233: 3229: 3227: 3221: 3220: 3209: 3203: 3199: 3195: 3191: 3187: 3181: 3177: 3174:. New Haven: 3173: 3169: 3165: 3161: 3159:0-345-31462-X 3155: 3151: 3147: 3143: 3142:Spoto, Donald 3139: 3135: 3129: 3125: 3121: 3117: 3113: 3107: 3103: 3099: 3094: 3090: 3084: 3080: 3076: 3072: 3068: 3067: 3053: 3049: 3043: 3028: 3024: 3017: 3002: 3001: 2996: 2992: 2986: 2971: 2970: 2965: 2958: 2943: 2942: 2937: 2930: 2915: 2911: 2904: 2893:September 16, 2888: 2884: 2880: 2873: 2871: 2855: 2854: 2849: 2843: 2834: 2830: 2824: 2816: 2812: 2811: 2806: 2799: 2791: 2785: 2781: 2777: 2773: 2772: 2764: 2748: 2741: 2725: 2718: 2710: 2709: 2704: 2697: 2682: 2681: 2676: 2670: 2663: 2662:0-06-273241-2 2659: 2655: 2651: 2646: 2638: 2637: 2632: 2625: 2617: 2613: 2607: 2599: 2597:9780099506225 2593: 2589: 2585: 2579: 2564: 2557: 2551: 2547: 2543: 2542: 2537: 2532: 2530: 2528: 2520: 2515: 2508: 2503: 2496: 2491: 2489: 2481: 2476: 2469: 2464: 2457: 2452: 2445: 2440: 2433: 2428: 2426: 2424: 2422: 2414: 2409: 2402: 2397: 2395: 2393: 2391: 2389: 2380: 2376: 2369: 2367: 2359: 2354: 2352: 2350: 2348: 2346: 2338: 2337:Chandler 2006 2333: 2331: 2329: 2319: 2312: 2311:Chandler 2006 2307: 2300: 2299:Sullivan 2006 2295: 2293: 2285: 2284:Sullivan 2006 2280: 2273: 2272:Sullivan 2006 2268: 2261: 2260:Sullivan 2006 2256: 2254: 2252: 2244: 2239: 2237: 2235: 2233: 2225: 2224:Chandler 2006 2220: 2214:, p. 66. 2213: 2212:Chandler 2006 2208: 2201: 2196: 2189: 2184: 2177: 2172: 2165: 2164:Chandler 2006 2160: 2158: 2150: 2145: 2143: 2135: 2134:Chandler 2006 2130: 2128: 2126: 2124: 2116: 2115:Chandler 2006 2111: 2104: 2099: 2097: 2095: 2093: 2091: 2083: 2078: 2071: 2066: 2059: 2054: 2052: 2050: 2042: 2037: 2035: 2033: 2031: 2029: 2021: 2016: 2014: 2012: 2010: 2008: 2006: 1998: 1997:Chandler 2006 1993: 1986: 1981: 1979: 1977: 1975: 1967: 1962: 1960: 1952: 1947: 1945: 1943: 1941: 1939: 1931: 1926: 1918: 1914: 1912: 1903: 1896: 1891: 1889: 1881: 1876: 1874: 1872: 1870: 1868: 1860: 1855: 1853: 1851: 1849: 1847: 1839: 1834: 1827: 1822: 1815: 1810: 1808: 1806: 1804: 1796: 1791: 1789: 1787: 1785: 1783: 1781: 1779: 1771: 1766: 1764: 1762: 1753: 1752: 1747: 1743: 1737: 1735: 1733: 1726: 1722: 1718: 1714: 1709: 1707: 1699: 1694: 1692: 1690: 1688: 1686: 1670: 1669: 1664: 1658: 1656: 1640: 1639: 1634: 1632: 1628: 1624: 1620: 1616: 1607: 1605: 1589: 1588: 1583: 1577: 1568: 1566: 1561: 1551: 1548: 1547: 1541: 1539: 1538: 1533: 1529: 1524: 1522: 1518: 1517: 1513: 1508: 1506: 1502: 1498: 1494: 1490: 1489: 1484: 1479: 1477: 1473: 1469: 1468: 1462: 1460: 1456: 1452: 1448: 1447:Stephen Wyatt 1444: 1440: 1435: 1433: 1429: 1425: 1424:Virginia Mayo 1421: 1417: 1416:Frank Lovejoy 1413: 1409: 1408: 1403: 1394: 1392: 1385: 1380: 1378: 1374: 1363: 1361: 1357: 1348: 1346: 1343: 1341: 1338: 1337: 1333: 1331: 1326: 1323: 1321: 1318: 1317: 1313: 1311: 1308: 1306: 1303: 1301: 1300:Academy Award 1298: 1297: 1293: 1290: 1287: 1284: 1283: 1275: 1267: 1265: 1261: 1258: 1254: 1249: 1247: 1246: 1245:A Simple Plan 1241: 1240: 1234: 1229: 1227: 1226: 1221: 1220: 1215: 1211: 1206: 1201: 1199: 1194: 1193: 1188: 1183: 1180: 1179: 1174: 1159: 1157: 1156: 1151: 1146: 1144: 1139: 1136: 1133: 1131: 1121: 1119: 1118: 1112: 1106: 1104: 1100: 1096: 1090: 1088: 1084: 1080: 1076: 1072: 1068: 1058: 1054: 1051: 1044: 1039: 1030: 1026: 1024: 1018: 1015: 1005: 1001: 999: 994: 990: 985: 980: 978: 973: 970:The theme of 963: 961: 957: 953: 952: 947: 946:doppelgängers 942: 939: 935: 925: 923: 917: 915: 911: 907: 903: 899: 897: 892: 890: 886: 882: 871: 869: 865: 861: 860:Jack Sullivan 856: 852: 847: 845: 841: 837: 833: 828: 823: 819: 816: 812: 807: 805: 804: 799: 795: 785: 782: 778: 776: 771: 770:undercranking 765: 760: 758: 753: 749: 744: 742: 733: 728: 724: 721: 718: 714: 712: 708: 704: 700: 696: 691: 689: 685: 680: 678: 674: 670: 666: 655: 653: 652:Academy Award 647: 645: 644: 639: 638: 633: 627: 623: 621: 614: 609: 607: 603: 599: 594: 592: 588: 587: 582: 577: 575: 571: 567: 563: 560:, who wove a 559: 555: 550: 536: 532: 530: 529: 524: 523:Edith Evanson 519: 514: 512: 508: 502: 500: 496: 489: 486: 485:John Doucette 483: 480: 477: 474: 471: 468: 465: 462: 459: 457:as Mr. Antony 456: 455:Jonathan Hale 453: 450: 447: 444: 441: 438: 435: 432: 429: 426: 425:Robert Walker 423: 420: 417: 415:as Guy Haines 414: 411: 410: 406: 401: 392: 389: 385: 381: 377: 375: 369: 365: 363: 357: 351: 347: 344:The original 325: 323: 319: 314: 310: 305: 303: 302:Robert Walker 299: 295: 291: 287: 283: 282: 277: 273: 270: 266: 265: 255: 251: 248:$ 1.6 million 247: 243: 239: 235: 232:United States 231: 227: 223: 217: 203: 202: 200: 194: 191: 188: 184: 180: 176: 168: 165: 162: 158: 155: 152: 148: 145: 142: 138: 132: 131:Robert Walker 129: 127: 124: 122: 119: 118: 116: 112: 108: 104: 101: 96: 95: 91: 87: 83: 80: 77: 75:Adaptation by 73: 67: 64: 62: 59: 58: 56: 54:Screenplay by 52: 49: 46: 42: 38: 32: 27: 22: 19: 4776:Tennis films 4615: 4607: 4599: 4591: 4583: 4575: 4567: 4559: 4551: 4543: 4535: 4527: 4519: 4511: 4503: 4495: 4487: 4479: 4471: 4464: 4463: 4444: 4436: 4428: 4405: 4397: 4389: 4381: 4373: 4354: 4346: 4338: 4330: 4322: 4314: 4306: 4298: 4290: 4282: 4274: 4266: 4258: 4250: 4242: 4234: 4226: 4209:Bibliography 4109: 4102: 4090: 4083: 4076: 4071:High Anxiety 4069: 4052: 4045: 4038: 4031: 4024: 4017: 4010: 4006:Hitchcockian 3983: 3974: 3962: 3943: 3935: 3927: 3919: 3911: 3888: 3880: 3872: 3866:Torn Curtain 3864: 3856: 3848: 3840: 3832: 3824: 3816: 3808: 3800: 3792: 3784: 3776: 3768: 3761: 3760: 3754:Stage Fright 3752: 3744: 3736: 3728: 3720: 3712: 3704: 3696: 3688: 3680: 3672: 3664: 3656: 3635: 3627: 3619: 3611: 3605:Secret Agent 3603: 3597:The 39 Steps 3595: 3587: 3579: 3571: 3563: 3555: 3547: 3539: 3531: 3523: 3515: 3494: 3486: 3478: 3470: 3462: 3454: 3446: 3438: 3430: 3406:Bibliography 3327: 3311: 3293: 3277: 3260: 3246: 3240: 3231: 3225: 3222:Hare, Bill. 3197: 3171: 3148:. New York: 3145: 3123: 3100:. New York: 3097: 3077:. New York: 3074: 3063:Bibliography 3051: 3042: 3030:. Retrieved 3027:The Guardian 3026: 3016: 3006:February 18, 3004:. Retrieved 2998: 2985: 2973:. Retrieved 2967: 2957: 2945:. Retrieved 2939: 2929: 2917:. Retrieved 2913: 2903: 2891:. Retrieved 2882: 2857:. Retrieved 2851: 2842: 2832: 2823: 2815:Gerald Peary 2808: 2798: 2774:. New York: 2770: 2763: 2751:. Retrieved 2740: 2728:. Retrieved 2717: 2708:The Guardian 2706: 2696: 2684:. Retrieved 2678: 2669: 2653: 2645: 2634: 2624: 2615: 2606: 2587: 2578: 2566:. Retrieved 2556: 2539: 2514: 2502: 2475: 2463: 2451: 2439: 2408: 2381:(3): 240–55. 2378: 2374: 2318: 2306: 2279: 2267: 2219: 2207: 2195: 2183: 2171: 2110: 2077: 2065: 1992: 1925: 1916: 1910: 1902: 1833: 1825: 1821: 1749: 1742:Ebert, Roger 1716: 1674:September 8, 1672:. Retrieved 1666: 1644:December 14, 1642:. Retrieved 1636: 1630: 1626: 1622: 1618: 1614: 1591:. Retrieved 1585: 1576: 1535: 1525: 1520: 1514: 1509: 1486: 1480: 1475: 1472:Danny DeVito 1465: 1463: 1458: 1442: 1438: 1436: 1428:Dana Andrews 1405: 1401: 1400: 1387: 1382: 1376: 1369: 1354: 1310:Robert Burks 1273: 1262: 1252: 1250: 1243: 1237: 1232: 1230: 1225:The Guardian 1223: 1219:Great Movies 1217: 1213: 1202: 1190: 1185:Conversely, 1184: 1176: 1172: 1170: 1153: 1147: 1142: 1140: 1137: 1134: 1127: 1115: 1108: 1102: 1092: 1082: 1064: 1055: 1049: 1046: 1041: 1036: 1027: 1022: 1019: 1013: 1011: 1002: 997: 995: 991: 987: 982: 971: 969: 960:doppelgänger 955: 949: 943: 931: 921: 918: 901: 900: 896:Ferris wheel 893: 888: 884: 880: 877: 863: 857: 854: 849: 826: 824: 820: 814: 810: 808: 801: 797: 791: 783: 779: 767: 762: 751: 745: 741:Kasey Rogers 738: 726: 722: 716: 715: 692: 684:Penn Station 681: 661: 648: 641: 635: 632:Robert Burks 628: 624: 620:Alma Reville 616: 611: 605: 595: 591:Billy Wilder 584: 578: 551: 547: 533: 526: 515: 503: 493: 473:Norma Varden 449:Marion Lorne 443:Kasey Rogers 390: 386: 382: 378: 370: 366: 358: 354: 349: 306: 290:Warner Bros. 279: 263: 262: 261: 220:Running time 197:Release date 190:Warner Bros. 144:Robert Burks 92: 18: 4481:Enough Rope 4473:Purple Noon 4457:Adaptations 3905:Short films 3890:Family Plot 3786:Rear Window 3637:Jamaica Inn 3509:sound films 3496:The Manxman 3480:Easy Virtue 3381:Filmography 3194:Wood, Robin 3032:February 2, 2991:Scott, Tony 2914:Blu-ray.com 2778:. pp. 2749:. Bbc.co.uk 1633:& More" 1587:The Numbers 1451:Clive Swift 1420:Ray Milland 1233:Cinemaphile 1212:has called 1210:Roger Ebert 1099:U.S. Senate 977:double bass 936:and visual 815:contrasting 695:Rowland Lee 511:Roger Ebert 499:double bass 479:Robert Gist 256:$ 7 million 224:101 minutes 106:Produced by 44:Directed by 4656:1951 films 4650:Categories 4635:Tom Ripley 4628:Characters 4609:Deep Water 4252:Deep Water 3956:Television 3937:Bon Voyage 3714:Spellbound 2969:Flavorwire 2919:October 8, 2859:January 8, 2686:January 1, 2519:Spoto 1983 2480:Ebert 2006 2413:Spoto 1983 2401:Spoto 1983 2358:Spoto 1983 2200:Spoto 1983 2188:Ebert 2006 2149:Spoto 1983 2103:Spoto 1983 2082:Spoto 1983 2070:Spoto 1983 2041:Spoto 1983 1951:Spoto 1983 1859:Spoto 1983 1838:Spoto 1983 1814:Spoto 1983 1770:Spoto 1983 1698:Ebert 2006 1556:References 1516:Do Revenge 1412:Ruth Roman 1349:Nominated 1334:Nominated 1314:Nominated 1270:Box office 1111:homophobic 1095:Communists 1079:Alger Hiss 1014:Strangers. 948:. As with 889:Stranglers 658:Production 562:homoerotic 539:Production 467:John Brown 419:Ruth Roman 313:psychopath 298:Ruth Roman 253:Box office 208:1951-06-30 171:Production 126:Ruth Roman 35:Poster by 4706:Film noir 4092:Hitchcock 4012:Number 13 3850:The Birds 3770:I Confess 3722:Notorious 3682:Suspicion 3650:and later 3648:Hollywood 3517:Blackmail 3488:Champagne 2664:. p. 1139 2586:(2007) . 2507:Wood 2004 2495:Wood 2004 2468:Wood 2004 2456:Wood 2004 2444:Wood 2004 2432:Wood 2004 1911:I Confess 1510:The 2022 1345:Best Film 1288:Category 1278:Accolades 1182:deftly." 1162:Reception 1083:Strangers 1071:Red Scare 998:opposites 938:metaphors 885:Strangers 866:than did 864:Strangers 844:Baby Face 830:numbers—" 827:Strangers 792:Composer 759:'s eye." 748:set piece 598:Ben Hecht 554:treatment 374:flashback 309:strangers 272:film noir 150:Edited by 37:Bill Gold 4158:Category 4104:The Girl 3989:episodes 3969:episodes 3706:Lifeboat 3690:Saboteur 3613:Sabotage 3464:Downhill 3456:The Ring 3283:AllMovie 3170:(2006). 3144:(1983). 3122:(2004). 3073:(2006). 3052:Time Out 2887:Archived 2853:Allmovie 2538:(2001). 1715:(1967). 1544:See also 1537:Time Out 1485:remake, 1291:Subject 1087:Cold War 842:", and " 237:Language 160:Music by 114:Starring 89:Based on 3999:Related 3987:(1985, 3967:(1955, 3826:Vertigo 3658:Rebecca 3533:Murder! 3507:British 3315:at the 3297:at the 3000:Variety 2975:June 7, 2947:June 7, 2833:Variety 2753:May 21, 2730:May 21, 2618:. 1951. 2616:Variety 2568:May 25, 1627:Sounder 1530:by the 1391:Blu-ray 1294:Result 1178:Variety 1143:refuses 972:doubles 966:Doubles 858:Critic 813:—often 811:doubles 346:trailer 320:by the 240:English 229:Country 206: ( 173:company 4620:(2024) 4617:Ripley 4612:(2022) 4604:(2016) 4596:(2015) 4588:(2014) 4580:(2009) 4572:(2005) 4564:(2002) 4556:(1999) 4548:(1996) 4540:(1989) 4532:(1987) 4524:(1978) 4516:(1978) 4508:(1977) 4500:(1977) 4492:(1969) 4484:(1963) 4476:(1960) 4468:(1951) 4449:(1985) 4441:(1981) 4433:(1974) 4410:(1991) 4402:(1980) 4394:(1974) 4386:(1970) 4378:(1955) 4359:(1995) 4351:(1987) 4343:(1983) 4335:(1977) 4327:(1972) 4319:(1969) 4311:(1967) 4303:(1965) 4295:(1964) 4287:(1964) 4279:(1962) 4271:(1960) 4263:(1958) 4255:(1957) 4247:(1954) 4231:(1950) 4216:Novels 4128:Family 3979:(1960) 3948:(1944) 3940:(1944) 3932:(1944) 3924:(1930) 3916:(1923) 3893:(1976) 3885:(1972) 3882:Frenzy 3877:(1969) 3869:(1966) 3861:(1964) 3858:Marnie 3853:(1963) 3845:(1960) 3842:Psycho 3837:(1959) 3829:(1958) 3821:(1956) 3813:(1956) 3805:(1955) 3797:(1955) 3789:(1954) 3781:(1954) 3773:(1953) 3765:(1951) 3757:(1950) 3749:(1949) 3741:(1948) 3733:(1947) 3725:(1946) 3717:(1945) 3709:(1944) 3701:(1943) 3693:(1942) 3685:(1941) 3677:(1941) 3669:(1940) 3661:(1940) 3640:(1939) 3632:(1938) 3624:(1937) 3616:(1936) 3608:(1936) 3600:(1935) 3592:(1934) 3584:(1934) 3576:(1932) 3568:(1931) 3560:(1931) 3552:(1931) 3544:(1930) 3536:(1930) 3528:(1930) 3520:(1929) 3499:(1929) 3491:(1928) 3483:(1928) 3475:(1928) 3467:(1927) 3459:(1927) 3451:(1927) 3443:(1926) 3435:(1925) 3422:Silent 3396:Cameos 3268: 3243:– DVD" 3204: 3182: 3156: 3130: 3108: 3085: 2786: 2780:318–19 2660: 2594: 2548: 1723: 1631:WALL-E 1593:May 7, 1397:Legacy 1285:Award 643:Psycho 637:Marnie 405:cameos 300:, and 245:Budget 4593:Carol 3874:Topaz 3424:films 1384:Bros. 1239:Fargo 1023:outré 788:Music 4117:film 3738:Rope 3557:Mary 3266:IMDb 3202:ISBN 3180:ISBN 3154:ISBN 3128:ISBN 3106:ISBN 3083:ISBN 3034:2024 3008:2023 2977:2017 2949:2017 2921:2012 2895:2017 2861:2010 2784:ISBN 2755:2013 2732:2013 2688:2022 2658:ISBN 2592:ISBN 2570:2013 2546:ISBN 1721:ISBN 1676:2024 1646:2021 1595:2020 1503:and 1430:and 1418:and 1242:and 1117:Rope 934:puns 838:", " 834:", " 568:and 528:Rope 395:Cast 348:for 328:Plot 3331:on 3281:at 3264:at 3245:on 3230:on 1497:CBS 1470:by 1445:by 1257:BBC 1189:of 1050:his 883:to 697:in 671:in 284:by 98:by 4652:: 3178:. 3152:. 3104:. 3081:. 3050:. 3025:. 2997:. 2966:. 2938:. 2912:. 2885:. 2881:. 2869:^ 2850:. 2831:. 2807:. 2782:. 2705:. 2677:. 2633:. 2614:. 2526:^ 2487:^ 2420:^ 2387:^ 2379:45 2377:. 2365:^ 2344:^ 2327:^ 2291:^ 2250:^ 2231:^ 2156:^ 2141:^ 2122:^ 2089:^ 2048:^ 2027:^ 2004:^ 1973:^ 1958:^ 1937:^ 1915:. 1887:^ 1866:^ 1845:^ 1802:^ 1777:^ 1760:^ 1748:. 1731:^ 1705:^ 1684:^ 1665:. 1654:^ 1635:. 1629:, 1625:, 1621:, 1617:, 1603:^ 1584:. 1564:^ 1507:. 1481:A 1461:. 1434:. 1426:, 1414:, 1377:or 1362:. 979:. 954:, 891:. 304:. 296:, 4192:e 4185:t 4178:v 3991:) 3971:) 3362:e 3355:t 3348:v 3249:. 3239:" 3224:" 3210:. 3188:. 3162:. 3136:. 3114:. 3091:. 3036:. 3010:. 2979:. 2951:. 2923:. 2897:. 2863:. 2792:. 2757:. 2734:. 2711:. 2690:. 2639:. 2600:. 2572:. 2446:. 1919:. 1909:" 1754:. 1678:. 1648:. 1597:. 1105:. 881:L 210:)

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Knowledge

Strangers on a Train (film)

Index