Strangers on a Train

1951

Action / Crime / Drama / Film-Noir / Romance / Thriller

58
Rotten Tomatoes Critics - Certified Fresh 98% · 58 reviews
Rotten Tomatoes Audience - Upright 92% · 25K ratings
IMDb Rating 7.9/10 10 140602 140.6K

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Plot summary

Two strangers meet on a train. They’ve never met before. Both of whom have someone they’d like to murder. So, they swap murders. A psychopath shares this concept with tennis star Guy Haines, whose wife refuses to get a divorce. He agrees, thinking it is a joke. But now his wife is dead, Haines finds himself a prime suspect and the man wants Guy to kill his father.


Uploaded by: OTTO
November 26, 2012 at 07:51 AM

Top cast

Alfred Hitchcock as Man Boarding Train Carrying a Double Bass
Robert Walker as Bruno Antony
Wayne Rogers as Guy Haines' tennis opponent
Leo G. Carroll as Sen. Morton
720p.BLU 1080p.BLU
700.89 MB
1280*720
English 2.0
PG
23.976 fps
1 hr 41 min
Seeds 12
1.40 GB
1920*1080
English 2.0
PG
23.976 fps
1 hr 41 min
Seeds 66

Movie Reviews

Reviewed by JoeytheBrit 8 / 10

Walker's Movie

When it comes to Cinema's hall of fame of screen villains Robert Walker's Bruno Anthony has to rank up there with the best of them. Outwardly harmless, he possesses the twisted psyche of a spoiled mummy's boy who is all too willing to resort to murder to get his own way (sounds a little like Norman Bates, doesn't it?).

Walker graces the role with sly hints of effeminacy that hint at his character's sexual orientation, something that in 1951 would have contributed to the overall impression of louche decadence. And what a loathsome creature he truly is, almost toadying towards tennis player Guy Haines as he ingratiates his way into the hapless athlete's life only to turn it upside down with his diabolical 'criss-cross' plan. To be fair, Haines is a tailor-made victim, and the passive indecision of his character is perhaps the film's biggest flaw. As others have no doubt noted, Haines would only need have gone to the police to sort everything out because Bruno's suave mask is clearly as fragile as an eggshell, and even a novice interrogator would quickly determine that something's not right about him.

As murder plots go, it's not a bad idea – apart from the unlikelihood of two like-minded strangers meeting, discussing and then agreeing to such a plot in the first place. Bruno takes the vaguest of affirmations – distractedly delivered by Haines to shake him off – as confirmation that his plan is a goer and promptly murders Haine's estranged wife in a justifiably famous fairground murder scene.

The psychological subtext is laid on pretty thick for an early fifties film, making it a piece of work that rewards repeated viewings. Walker's character grows increasingly menacing as the film progresses, not through any changes of attitude or manner on his part, but because of what the audience learns about him as the story unfolds. For the most part, however, his role in the film is simply as a villainous foil for the clear-cut Haines, which is a shame as it would have been interesting to see just how Bruno became as twisted as he was. Nevertheless, Strangers on a Train deserves the classic status it enjoys, and is worth a couple of hours of anybody's time.

Reviewed by bkoganbing 9 / 10

Criss-Cross

In Strangers On A Train, it's obvious from the start that playboy wastrel Robert Walker has singled out Farley Granger as an unwilling accomplice to a pair of murders. Granger's a semi-public figure, he's a tennis pro, but not an especially high one. High enough however for him to know that Granger is trapped in a loveless marriage and would like to be free to marry Ruth Roman.

So when they meet as complete Strangers On A Train one afternoon, Walker knows enough that Granger will at least be intrigued enough with the possibility that if the two of them, complete strangers, did commit homicide on parties that the other would be convenienced by their demise. Though Granger is repulsed by the idea, one of the beautiful things about this film, is that you can see in the performance he gives that Granger just might submit to temptation.

In fact when Walker kills Laura Elliot, Granger's wife whose been two timing him and even gotten pregnant by another man, he expects that Granger will in turn murder Walker's father so that Walker can inherit his estate. Today Walker would be called a trust fund baby and a pretty malevolent one at that.

Alfred Hitchcock directed Walker to his career role, ironically in his last complete film. Walker died the following year with most of My Son John finished. Hitchcock does not do too bad by Farley Granger either.

Of course when Granger does balk at committing homicide on people who never did anything to him, the tension. Strangers On A Train is also characterized by great editing, first in the tennis match in which Granger has to finish the match and waylay Walker before he plants evidence convicting Granger at the crime scene. And also in that final climax with a fight on a runaway carousel between Walker and Granger.

Strangers On A Train is Hitchcock at his best, it should not be missed and ought to be required viewing when film classes study editing.

Reviewed by MartinHafer 9 / 10

A truly exceptional film...with one glaring problem.

Don't get me wrong, I love and respect this film and it's among Alfred Hitchcock's best films. Yet, I still cannot see it as a perfect film because there is one glaring problem. Any NORMAL person would soon go to the police if they were in Farley Granger's situation...and not try to fix everything themselves or hope the problem would go away on its own. And, any suspense film that hinges on the idea off smart people temporarily acting dumb has got a knock against it--and surely doesn't deserve a 10. However, I do need to point out that aside from this, this is a great film. Robert Walker's performance is menacing and exciting to watch--and not typical of the usual film noir or suspense villain. He simply made the film. Also, aside from the brain lapse of the main character, the rest of the script is great--exciting, original and well worth seeing. A lovely film...but perhaps overrated within the Top 250 due to its plot difficulty.

By the way, a GREAT double-feature would be to see this and "My Son, John". That's because these were Walker's last two movies and the actor died before completing "My Son, John". So, to salvage the film, a few clips from "Strangers on a Train" were inserted into the second film. Views of DC were reused as well as the final death scene that was clipped and inserted in a vehicle at the end of "My Son, John". Fascinating viewing.

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