Strangers On A Train

Hitchcock fans usually rate this film highly, justifiably seeing in it The Master's break from the overbearing Hollywood studio system, in particular, the influence of David Selznick, and a return to his more authentic pre-1940, location-based approach.If you are a fan of that style Strangers On A Train will please but although there are certainly some distinctive Hitchcockian moments, to my taste this is a somewhat laboured film (including the famous fairground scene).

Based on the first novel by Patricia Highsmith (and co-scripted by Raymond Chandler), the film has a suggestive sexual ambiance which is thoroughly Hitchcockian (Highsmith was a devotee of Sapphic love) and even more perversely, Hitch's daughter, Patricia, plays Barbara, who becomes a kind of surrogate victim in the mind of the deeply confused killer, Bruno (Robert Walker).

The British print of this film, which is almost 2 minutes longer and has a different ending is less veiled about about Bruno's homosexual attraction to the uncompliant Guy. Walker had a nervous breakdown shortly after filming was completed and died of an accidental overdose of tranquilizers. (Close-ups from this film were used to finish Walker's final film My Son John (unseen)). Hitch's cameraman on this, Robert Burks, would be with him for his next nine films.

FYI: Danny De Vito directed a so-so black comedic re-working of this with Throw Momma From The Train (1987) with himself and Billy Crystal in the leads.

 

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