Strangers on a Train directed by Alfred Hitchcock 1951
One of his absolute classics with great performances by Farley Granger and Robert Walker and scripted by Raymond Chandler
A girl in love with young America’s idol—and a good-looking stranger in search of sensation—that’s how it all began..! Warner Bros. bring a pounding new tempo to motion picture entertainment!
Now a very special Alfred Hitchcock event! A hundred and one breathless minutes of matchless suspense!
It begins with the shriek of a train whistle and ends with shrieking excitement! Young America’s idol - a good looking stranger in search of sensation - and a girl in love. These are the people around whom Alfred Hitchcock spins his wonderful new web of suspense and surprise. WARNER BROS. bring a pounding new tempo to motion picture entertainment.
A tennis star plays a match with murder!
You’ll be in the grip of love’s strangest trip!
It’s Off The Beaten Track!
It starts with a shriek of a train whistle…and ends with shrieking excitement.
Barbara Morton: I still think it would be wonderful to have a man love you so much he’d kill for you.
Bruno Anthony: How do you do, sir? I’d like to talk with you sometime, sir, and tell you about my idea for harnessing the life force. It’ll make atomic power look like the horse and buggy. I’m already developing my faculty for seeing _millions_ of miles. And Senator: can you imagine being able to smell a flower - on the planet Mars? I’d like to have lunch with you someday soon, sir. Tell you more about it.
Bruno Anthony: Don’t worry, I’m not going to shoot you, Mr. Haines. It might disturb Mother.
Bruno: My theory is that everyone is a potential murderer.
Barbara Morton: Oh, Daddy doesn’t mind a little scandal. He’s a senator.
Bruno Anthony: I have a theory that you should do everything before you die.
Guy Haines: I may be old-fashioned, but I thought murder was against the law.
Bruno Anthony: Everyone has somebody that they want to put out of the way. Oh now surely, Madam, you’re not going to tell me that there hasn’t been a time that you didn’t want to dispose of someone. Your husband, for instance?
Senator Morton: You had no trouble, of course, with the police once they verified your alibi? Guy Haines: When an alibi is full of bourbon, sir, it can’t stand up.
“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, 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.”
While Raymond Chandler’s novels were made (and re-made and re-re-made) into films, Chandler himself had only a brief foray into screenwriting. In 1944, he shared writing credit with Billy Wilder on the adaptation of James M. Cain’s novel Double Indemnity.