Comments on: Strangers On a Train

By: Utah Directory

Utah Directory — Sun, 07 Aug 2011 21:41:59 +0000

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By: Rick Olson

Rick Olson — Tue, 26 Aug 2008 14:06:46 +0000

This is one of my favorite Hitchcocks, even though not considered among the top of his output. I love the darkness, the ambiguity of the men’s relationship (like the other commenters, I find the homoerotic overtones palpable) and even that ridiculous ending, which is so Hitchcock. The runaway carousel, the horses with their teeth bared … those things, in reality, are powered barely enough to turn.

A fine review, Daniel.

By: Daniel

Daniel — Sun, 24 Aug 2008 00:55:09 +0000

Thanks, all. Your generous compliments are yet again overly flattering for my “review” of a classic noir film!

I’m glad I took the opportunity to take part, Evan. It was educational and quite fun, and hopefully my participation wasn’t at the expense of someone who could have more academically dissected those three films.

Speaking of which, Alexander, your insights into the prison bars and Walker’s mother definitely deserve space here. I also made no mention of the geographical setting of this film along the Eastern seaboard, and the political subtexts Hitchcock and/or Highsmith may have injected into the story.

By: Sam Juliano

Sam Juliano — Sat, 23 Aug 2008 19:00:52 +0000

I agree with Evan on the ‘homoerotic subtext’ running in this film. Of course it’s all part of Robert Taylor’s performance as the “charming psychopath,” which vied with Alistair Sim’s in A CHRISTMAS CAROL as the best of 1951.

The murder at the amusement park through the “glasses” is one of the greatest sequences in all of Hitchcock.

This is one of the indesputable Hitchcock masterworks, and again I commend Dan for his engaging historical discourse.

By: Evan Derrick

Evan Derrick — Sat, 23 Aug 2008 18:18:50 +0000

Reminds me a little of the homoerotic subtext present in nearly all of John Woo’s films. It’s never fully acknowledged but it’s almost always present in one form or another.

By: Alexander Coleman

Alexander Coleman — Sat, 23 Aug 2008 17:57:38 +0000

Hitchcock certainly delved into psycho-sexual and homoerotic characters, as here and in Rope, among others, are portrayed as fiends.

And of course, you have the maternal figure playing a significant part in the villain’s constitution and behavior.

By: Evan Derrick

Evan Derrick — Sat, 23 Aug 2008 17:30:08 +0000

Even if the homoerotic undertones were minimized, they were certainly not removed altogether. I had no idea about the backstory behind the script’s creation, but when I first saw this the homosexual innuendo from Bruno was definitely palpable.

Agreed Daniel that the female subplots are patently dull. Whether you want to read misogyny into that or not, things just aren’t as interesting when they’re on screen.

By: Joseph

Joseph — Sat, 23 Aug 2008 17:05:14 +0000

Again, loved the carousel climax. It weaves humor and suspense so well.

By: Alexander Coleman

Alexander Coleman — Sat, 23 Aug 2008 15:37:47 +0000

Nicely done review, Daniel. My favorite bit of mise-en-scene in Strangers on a Train is the scene in which Bruno confronts Guy, and Hitchcock frames each man, respectively, as behind bars, signifying their entwined fates and more importantly their shared culpability. Another case of Hitchcock somewhat slyly commenting on the failings of his "hero" (like Notorious, Vertigo and many others).