Strangers on a Train: another PPLL Review

Hey why not preserve some of your pre-pension finances, too, and head to your local library and borrow a classic like Strangers on a Train? Obviously no stranger to some of Hitchcock’s films, and also a fan of a fine documentary on Hitchcock’s legacy in film Hitchcock/Truffaut (2015), this was my first viewing of Strangers on a Train.

I loved it for the following reasons:

Hitchcock’s keen eye for detail, specifically three scenes:
1. The tennis match when all audience heads are exhibiting the classic back and forth watching of the match with the exception of Robert Walker as Bruno who stares straight ahead.
2. The murder scene filmed in the reflection of an eye glass lens.
3. The climactic scene on the merry go round, when a strange old geezer (carnie) crawls under the out of control amusement ride in order to shut it off. And he doesn’t just crawl, he stops and wipes his face (hysterically funny). In fact, in this scene in particular, I love the layering Hitchcock did, the geezer, the little boy having a blast as the merry-go-round speeds up, then the same kid starts to hit Bruno/Robert Walker to help Farley Granger, the cops who tell the old geezer it’s dangerous, then second guess saying, they don’t want to crawl under there, the Bruno shots from the floor with him kicking at Farley’s hands. Pure cinema gold.

Hitchcock’s playful sense of humor:
1. the sister of Ruth Roman/Anne, who was actually Alfred’s daughter Patricia, has the best lines in the entire film, calling Farley’s wife a tramp, saying her dad isn’t afraid of scandal because he’s a senator, her prescient “I see dead people” stare.
2. of course, his notorious appearance in each o his films, this time by getting on a train with a bass.
3. the aforementioned merry-go-round scenes.

I also appreciated how well done the tennis match was filmed and edited. This could not have been easy back in the manual days of the early 1950’s.
This has now become my favorite Hitchcock film.

A few Postscripts:
So sad that Robert Walker had a mental illness, but on the bright side, he had made it out of a sanatorium and was resilient enough to make several more films before succumbing to anxiety/alcohol/a Brian Wilson-like psychiatrist. His demise also goes to show how unrequited love (Jennifer Jones basically left him for Jeffrey Selznick) can destroy those less resilient.
Equally sad was that his son, Michael seemed to have a similar demise.
And if this story on IMDB is true, shame of Hitchcock for his sadistic trick of bullying his daughter Patricia’s fear of heights by paying her 100$ to ride the ferris wheel and summarily having the ride stopped at the top and the lights shut off.

A sick bastard, but a fun director, nonetheless.