Strangers on a Train

In one of his most suspenseful and riveting films, Alfred Hitchcock presents the tale of two men thrown together in a desperate struggle. One is a famous tennis player trapped in a bad marriage and the other is a rich young psychopath, his life tortured by his overbearing father. Taken from a mystery novel written by Patricia Highsmith, Strangers on a Train is the story of how this unlikely pair meet and the effect this meeting has upon both their lives.

Farley Granger stars as Guy Haines, famous professional tennis player. Haines is stuck in a loveless marriage to Miriam Haines (Laura Elliot), an unfaithful and mocking wife. Guy also has a relationship with Ann Morton (Ruth Roman), whom he hopes to marry. However, Miriam sees no need to end her marriage to a famous sports celebrity or to curtail her adulterous affairs. Robert Walker is Bruno Anthony, the other "stranger". He is from a wealthy family but is obsessed with his father, whose tyranny has made his life miserable. In Bruno's mind, his hatred for his father can only be resolved with the man's death.

When the two men meet accidentally(?) on a train, small talk swiftly turns to a discussion of their personal lives. Bruno, almost jokingly, says that they might solve all their problems by murdering the people who stand in the way of their happiness. For a moment, Guy indulges in the fantasy of how his life might be if Miriam would somehow disappear. He does not, however, take Bruno's suggestion seriously. It is just an interesting "what-if". While Guy listens idly, Bruno continues to reveal an elaborate plan for the murders, suggesting that the authorities could not possibly discover the truth if each of them would do the other person's murder. In what would appear to be two unrelated killings, the police would be baffled and the perfect crime would succeed. Each man could then proceed with his new life without the fear of discovery, certain that the other man would not tell, bound to secrecy by his own crime.

Guys perceives Bruno to be somewhat strange but harmless, only indulging in this fantasy to pass the time on a boring train ride. Actually, Bruno is an exceedingly clever psychopath who has devised a painstakingly complex plan to commit the perfect murder. The one flaw in his plan is that it requires the participation of another person. That person is Guy Haines.

Finally, the train ride is over and Guy dismisses his encounter with Bruno. That is, until his wife is mysteriously killed. Slowly Guy comes to the realization that the talkative young man from the train was serious. Now, chillingly aware that Bruno expects him to keep his part of the bargain, Guy embarks on a frightening relationship with Bruno Anthony. The result is a fast-paced and gripping struggle of wills between the evil Bruno and the terrified Haines.

Robert Walker, in what is probably his best performance, is excellent as the boyishly-handsome, yet deadly Bruno Anthony. Walker's character is educated, charismatic and completely without scruples, bordering dangerously on the edge of madness. Bruno shows his sadistic sense of humor throughout the film. In a telling conversation with an unsuspecting woman, Bruno jokes that anyone can commit the perfect crime and takes great pleasure in discussing hypothetical ways she might carry-out a perfect murder.

Farley Granger gives what can only be called an adequate performance as the terrorized Haines. Although Granger is believable in his role as tennis player, his performance lacks the fire of Walker's. In fact, this type of bland performance is given by the entire supporting cast, as well, making Bruno by far the most dynamic character. Perhaps this was a strategy of Hitchcock's to show the overpowering contrast between the characters.

Once Miriam Haines is killed, Bruno relentlessly stalks Guy. He appears in the most unexpected places to remind Guy that his part of the plot has not been completed. Having considered the possibility that Guy might try to avoid performing the other murder, Bruno has arranged an involved scenario which would indicate that Guy is Miriam's killer. He manages to steal an engraved cigarette lighter belonging to Guy, which he can plant at will, implicating him as the murderer. Possession of this lighter is crucial and is the object around which much of the action of the film revolves.

Although Bruno's plot is brilliant, it does not take into account the intervention of fate. When things begin to unravel, Bruno falls prey to a series of blunders, many of which are the result of his arrogance that his plan is foolproof. Faced with a series of unplanned events, his control of the situation topples and he is forced to reveal the maniac that lies beneath his cool reserve. In the end, Bruno and Guy match wits and battle toward a powerful and violent climax. The pace is relentless as the audience is drawn into the struggle between the two.

The cinematography and direction are classic Hitchcock. Nothing is overlooked to account for every minute detail and convey a taut, chilling mood to the film. Camera angles, lighting and music all aid in emphasizing the desperate, tense pace. Indicative of this frenzied pace is perhaps the most dramatic scene of the film, in which a carousel careens out of control. This breathless scene alone makes the movie worth watching again and again. For any Hitchcock fan** or lover of suspense, Strangers on a Train is perfect.

**Check the credits for Patricia Hitchcock (Alfred Hitchcock's daughter) in a small role. Also watch for Hitchcock's trademark cameo near the beginning of the film!