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YouTube. I loved this short film. A poignant look into today's world and all of it's judgmental fervor. Wonderfully thought-provoking and surprising. Everyone should watch. Eden Mine A Novel By: S. M. Hulse Narrated by: Elise Arsenault, Andrew Eiden Length: 9 hrs and 49 mins Unabridged In Eden Mine, the award-winning author of Black River examines the aftershocks of an act of domestic terrorism rooted in a small Montana town on the brink of abandonment, as it tears apart a family, tests the faith of a pastor and the loyalty of a sister, and mines the deep rifts that come when the reach of the government clashes with individual freedom. The Savage Valley The Logan Family Western Series, Book 2 Donald L. Robertson Alex Boyles Length: 7 hrs and 15 mins Callum Logan is a man of quick decision and execution. His fast gun has saved him on more than one occasion. Though hardened by the horrors of the Civil War, he gives each man a chance, unless they prove its undeserved. Now, on his way to begin a new life in the Colorado West, Callum is eager to put the killing behind him. But while rescuing a family from despicable outlaws, he is forced to kill the leader of the small band, putting himself in direct conflict with the outlaws brother, Elwood Wister, whose gang has become the scourge of Southwest Colorado. Forty-Four Caliber Justice The Justice Series, Book 1 Scott Miller Length: 7 hrs and 24 mins In this compelling adventure, Clay Barlow's idyllic way-of-life, in the Texas Hill Country, is shattered when he returns home to find his family savagely murdered. Clay must find the strength to grow beyond his 17 years. After burying his loved ones, his search for justice takes him to the Rio Bravo and into Mexico. On his quest, he'll face death, find love, and strive to conquer his youth and inexperience. Will he live long enough to learn? Is he prepared to take a life? Did his retired, deputy sheriff father teach him enough to survive against experienced killers? A Suitor for Jenny Rocky Creek Romance, Book 2 Margaret Brownley Nancy Peterson Length: 10 hrs and 56 mins After their parents died, Jenny felt responsible for seeing that her two younger sisters were well taken-care of. Tipped off by an article naming Rocky Creek the town with the highest number of eligible bachelors, Jenny rolled into this Texas town with a clear objective: find suitable husbands for her two sister and then start fresh somewhere far, far away. Jenny believe that women who fall in love at first sight often wish they'd taken a second look, so she diligently begins to follow all the rules set forth in her handy manual on how to land a husband. Footprints of My Father The Luke Cardiff Series, Book 1 Kwen D. Griffeth Paul J. McSorley Length: 4 hrs and 45 mins When Luke Cardiff returns from college to his small family horse ranch in Missouri, he leaves Stella May, the girl he cares about, behind when hes sent to Amarillo, Texas, to take care of family business. In the back of his mind, hes always suspected theres more to his horse-loving school teacher father than meets the eye. While in Amarillo, he discovers that his fathers past life was one of violence, murder, and mayhem - something Lukes mother was never allowed to talk about. Todd's Vendetta T. Y. Ryan Michael Alan White Length: 2 hrs and 22 mins Bounty hunter Todd Harper arrives in New Mexico, acting as deputy sheriff for his friend Sheriff Reed, who's been shot and severely injured. When a gang attacks and burns the church, Todd begins to uncover a more sinister plot that will destroy the town. As murder and mayhem ensue, Todd is reunited with Emily, the woman he once loved. A woman who left him for dead, while she rode off with the dangerous Ritter gang. Texan Vendetta (A Western Action/Adventure) Bloodshed in the West Series Book Clate West Tim Tidball Length: 58 mins The latest action-packed western from Clate West! An exciting new Western in the style of Robert J. Thomas, WL Cox, and Duane Boehm filled with action, adventure and plot twists such as C. K. Crigger, Robert Vaughan, and C. Curtis! Ace Lone Wolf and the Lost Temple of Totec Lone Wolf Howls, Book 1 Eric T Knight Alex Campbell Length: 7 hrs and 51 mins Ace Lone Wolf, a half-Apache gunslinger with a quick draw and a penchant for finding trouble, is about to be hanged for a murder he didnt commit. Then Victoria, a beautiful English noblewoman, and her hulking manservant, Block, break him out of jail. Victorias father, a famed archaeologist from London, disappeared while searching for the lost temple of the bloodthirsty Aztec god Xipe Totec and she needs Ace's help to find him. Code of the Mountain Man Mountain Man Series, Book 8 William W. Johnstone J. Rodney Turner Length: 7 hrs and 50 mins Lee Slater and his gang of lowlife desperadoes didn't know that Smoke Jensen had given up his gunslinger status to become a family man. Stirring up a motherlode of trouble was their first mistake. Shooting Smoke's wife Sally was their second. Chances are, they're not going to live to make a third. Upright Women Wanted Sarah Gailey Romy Nordlinger Length: 3 hrs and 52 mins Esther is a stowaway. She's hidden herself away in the Librarian's book wagon in an attempt to escape the marriage her father has arranged for her - a marriage to the man who was previously engaged to her best friend. Her best friend who she was in love with. Her best friend who was just executed for possession of resistance propaganda. The future American Southwest is full of bandits, fascists, and queer librarian spies on horseback trying to do the right thing. Deadwood Ambush A Western Story Lauran Paine Length: 4 hrs and 59 mins Deadwood, Dakota Territory, was filled with luckless miners, diggers, and more than its share of lawlessness, and more often than not, there was nothing Marshal Fred Nolan and his two deputy marshals, Wentworth and Grubb, could do. So when a teen hustler, known as "Gitalong" because of his crippled leg, was hoorawed by a trio of Texas drovers, the law wasnt called in. Besides, two strangers had come to Gitalongs aid, confronting the drovers and forcing them to give Gitalong three silver dollars. While it was the most money he'd ever had, he knew it would only bring him trouble. The DeVine Devils Jeremy Spillman Dean Dillon Length: 9 hrs and 35 mins When 11-year-old Audie and nine-year-old Shane DeVine set out to visit the Apache camp with their missionary father, they have no idea theyll never see Missouri again with innocent eyes. After the boys barely escape a brutal massacre by the US army, they swear vengeance on those who brought about the devastation. The next decade of life hones their skills as much in music as in fighting with deadly accuracy. Shot to Hell Perley Gates Western Series, Book 4 William W. Johnstone, J. A. Johnstone - with Danny Campbell Length: 9 hrs and 31 mins They say that home is where the heart is. And no one knows that better than Perley Gates. After helping the lovely Miss Emma Slocum reunite with her sister's family in Bison Gap, Perley can't wait to rejoin his own kin at the Triple-G Ranch. No sooner does Perley settle in when he receives an alarming telegram from Bison Gap. Emma's brother-in-law has been murdered. Her sister wants justice. And Perley is their only hope to get it. The Trail West Trail West Series, Book 1 J. Johnstone John McLain Length: 8 hrs and 31 mins In 1848, Dooley Monahan, son of struggling Iowa pioneers, went off to to pick up a new milk cow. Young Dooley never came home. Now, nearly three decades later, Dooley Monahan has become an accidental legend, managing to plant a bullet in the chest of a dangerous outlaw. All Dooley really wants is to claim his reward at a bank in Phoenix and make his way north to a gold strike he read about in a newspaper. Dead Time Hank Fallon Western Series, Book 3 A. T. Chandler Length: 10 hrs and 12 mins Doing time in Texas is no picnic. But getting sent to The Walls in Huntsville is a fate worse than hanging. If the guards don't kill you, the prisoners will. And if it weren't for the fact that the man who framed Hank Fallon and murdered his family could be inside The Walls, Hank would never step one foot in that heinous helltrap - let alone go undercover as an inmate. But this isn't just another assignment. This is his chance for revenge. Logans Word The Logan Family Western Series, Book 1 Length: 9 hrs and 3 mins As Lieutenant Rory Nance lay dying after the battle of Cedar Creek in the Shenandoah Valley, Captain Josh Logan gave his word to his best friend. Now, two years later, deep in the Comancheria, Josh Logan rides to accomplish his dying friends request. As he rides through the rolling, West Texas hills, blood-thirsty Comanches could wait in the next ravine or around the next hill. Yet, he is determined to fulfill his promise. Will Fain, U. S. Marshal 4 Will Fain, U. Marshal, Book 4 R. O. Lane Length: 5 hrs and 26 mins This is the fourth volume featuring Will Fain, a dedicated US Marshal in Texas who is asked by a federal judge in San Antonio to find Dick Muller, who murdered two Deputy US Marshals. Muller, also called Pie-Eyed Dick, escaped into Mexico originally but is now working on a ranch in El Paso. Fain goes to El Paso, but Muller escapes once again into Mexico. Fain takes off his badge and goes into Mexico as a bounty hunter. He finds Muller, but before he can get back over the border, he is captured by Mexican Rurales and condemned to death. Wildcat Wayne Barton, Stan Williams Rusty Nelson Length: 13 hrs and 35 mins Texas was just as noisy, reckless, and wide open in 1914 as it was in the days of the Wild West - with one important exception: success no longer paid off in livable wages, it paid off in millions. Lee Temple, fresh out of a Fort Worth jail and broke, knew that to survive he'd have to give in to change. No sooner had he ditched his saddle than he got caught in a fracas involving the newly-rich oil trash Hargroves. Lonesome Dove Larry McMurtry Lee Horsley Length: 36 hrs and 47 mins Journey to the dusty little Texas town of Lonesome Dove and meet an unforgettable assortment of heroes and outlaws, whores and ladies, Indians and settlers. 5 out of 5 stars Lee Horsley is perfect! By Kelly on 04-16-18 The Cold Dish A Walt Longmire Mystery Craig Johnson George Guidall Length: 13 hrs and 17 mins Overall 4. 5 out of 5 stars 13, 534 Performance 11, 832 Story 11, 808 Introducing Wyoming's Sheriff Walt Longmire in this riveting novel, the first in the Longmire series, the basis for the hit Netflix original series Longmire. Not Your Ordinary Western Novel (Series) Dataman 09-12-12 Land of Wolves Longmire Mysteries, Book 15 Length: 8 hrs and 10 mins Attempting to recover from his harrowing experiences in Mexico, in Land of Wolves Wyoming Sheriff Walt Longmire is neck deep in the investigation of what could or could not be the suicidal hanging of a shepherd. FANTASTIC ADDITION! shelley 09-18-19 Wolf Pack C. J. Box David Chandler Length: 9 hrs and 51 mins Wyoming game warden Joe Pickett encounters bad behavior on his own turf - only to have the FBI and the DOJ ask him to stand down - in the thrilling new novel from number-one New York Times best-selling author C. Box. best c. Joe Pickett novel ever. Joep1 03-15-19 Depth of Winter Length: 7 hrs and 55 mins An international hit man and the head of one of the most vicious drug cartels in Mexico has kidnapped Walt's daughter, Cady, to auction her off to his worst enemies. Walt heads into the 110-degree heat of the Northern Mexican desert alone, one man against an army. 3 out of 5 stars Maybe Craig is getting tired. Miles 09-09-18 Bass Reeves Frontier Marshal, Volume 1 Gary Phillips, Mel Odom, Andrew Salmon, and others Stuart Gauffi Length: 6 hrs and 40 mins He began his life as a slave. During the Civil War he escaped and lived among the Indians in the Oklahoma Territories. Dead Man's Walk Will Patton Length: 14 hrs and 29 mins Dead Man's Walk takes us back to the days when Gus and Call were young Texas Rangers, first experiencing the wild frontier that will form their characters. 4 out of 5 stars Not Lonesome Dove Richard 11-05-08 Comanche Moon Frank Muller Length: 23 hrs and 49 mins We join Gus, Call and their comrades-in-arms in their bitter struggle to protect an advancing Western frontier against the defiant Comanches, determined to defend their territory and way of life. 1 out of 5 stars This version is abridged! Cabby 08-28-13 They say that home is where the heart is. After helping the lovely Miss Emma Slocum reunite with her sister's family in Bison Gap, Perley can't wait to rejoin his own kin at the Triple-G Ranch. Sackett's Land The Sacketts, Book 1 Louis L'Amour John Curless Length: 5 hrs and 14 mins After discovering six gold Roman coins buried in the mud of the Devil's Dyke, Barnabas Sackett enthusiastically invests in goods that he will offer for trade in America. But Sackett has a powerful enemy. I enjoy Louie L'Amour ABLA 04-14-07 The Western Star Length: 7 hrs and 39 mins Sheriff Walt Longmire is enjoying a celebratory beer when a younger sheriff confronts him with a photograph of 25 armed men standing in front of a Challenger steam locomotive. Warning! This ends in a cliffhanger. TyrannosaurusRix 09-21-17 An Obvious Fact In the largest motorcycle rally in the world, a young biker is run off the road and ends up in critical condition. Sheriff Walt Longmire and Henry Standing Bear are called to investigate. No brainer. Use the credit. Boysmom 09-19-16 One Thousand White Women Jim Fergus, J. Will Dodd (introduction) Laura Hicks, Erik Steele Length: 14 hrs and 54 mins One Thousand White Women is the story of May Dodd and a colorful assembly of pioneer women who travel to the Western prairies in 1875 to intermarry among the Cheyenne Indians. 2 out of 5 stars One interesting woman is better than one thousand! Tracy 04-29-12 All the Pretty Horses The Border Trilogy, Book One Cormac McCarthy Length: 10 hrs and 3 mins In spite of its hard realities and spare telling, All the Pretty Horses is a lyrical and richly romantic story, chronicling - along with the erosion of the frontier - the loss of an era. Beautiful writing LMS 05-21-15 Inland Téa Obreht Anna Chlumsky, Edoardo Ballerini, Euan Morton Length: 13 hrs and 7 mins In the lawless, drought-ridden lands of the Arizona Territory in 1893, two extraordinary lives unfold. Nora is an unflinching frontierswoman awaiting the return of the men in her life. Jan 08-23-19 True Grit Charles Portis Donna Tartt Length: 6 hrs and 15 mins Mattie Ross, a 14-year-old girl from Dardanelle, Arkansas, sets out to avenge her Daddy who was shot to death by a no-good outlaw. So worth it! Tommygaus 12-29-10 The Daybreakers The Sacketts, Book 6 David Strathairn Length: 6 hrs and 23 mins A magnificent saga of American fiction, the Sacketts series is one of the greatest treasures by legendary storyteller Louis L'Amour... Very enjoyable story Bruce E. Hawkins 04-19-03 Texas Ranger James Patterson Christopher Ryan Grant Length: 7 hrs and 9 mins Rory Yates's discipline and law-enforcement skills have carried him far: from local highway patrolman to the honorable rank of Texas Ranger. He arrives in his hometown to find a horrifying crime scene and a scathing accusation: he is named a suspect in the murder of his ex-wife, Anne. James Patterson where are you? Vicky St. John 08-22-18 Conagher Jason Culp As far as the eye can see is a vast, empty horizon. Evie Teale has finally accepted that her husband wont be coming home. To make ends meet she runs a temporary stage station. But though she is diligent and careful, Evie must prepare for the day when the passengers no longer come. Great story clinton 06-12-19 Lee Slater and his gang of lowlife desperadoes didn't know that Smoke Jensen had given up his gunslinger status to become a family man. The First Mountain Man First Mountain Man Series, Book 1 Length: 10 hrs and 19 mins He came west to the Rockies as a young runaway and grew into a legend among the already legendary frontier mountain men. They called him Preacher - a name that would become a monument to all who sought adventure in the savage wilderness of America's untamed west. Excellent Anonymous User 08-06-19 Twelve Dead Men Jack Garrett Length: 9 hrs and 15 mins For generations, the Jensen family has staked their claim in the heart of the American West. Now the legacy continues as twin brothers Ace and Chance Jensen find justice - swinging from a hangman's noose. Bullets Dont Argue Perley Gates Western Series, Book 3 J. Johnstone - contributor Length: 9 hrs and 13 mins Once every year, Perley Gates and his brothers lead the Triple-G crew on its annual cattle drive. It's a treacherous journey along the Great Western Trail, with a herd of 2, 000 cows on one side and many opportunities for trouble on the other. Pre-Madonna Robert 12-01-19 The Frontiersman Frontiersman Series, Book 1 Cody Roberts Length: 8 hrs and 52 mins In Tennessee, 17-year-old Breckinridge Wallace knew the laws of nature. When his life was in danger, he showed a fearless instinct to fight back. Killing a thug who was sent to kill him got Breckinridge exiled from his Smoky Mountain home. great story swayrod 01-22-20 The Son Philipp Meyer Will Patton, Kate Mulgrew, Scott Shepherd, Length: 17 hrs and 48 mins A gripping and utterly transporting novel that maps the legacy of violence in the American west with rare emotional acuity. Five Stars for the Lone Star, The Son. Meyer Mel 06-04-13 West of the Tularosa Jon Tuska, Mark Bramhall, Tom Weiner Length: 5 hrs and 53 mins This volume presents eight of L'Amour's ever-popular short stories - history that lives forever. LaAmour Shorts Tim Krupa 05-20-19 Hard Country Michael McGarrity Length: 15 hrs and 53 mins After the deaths of his wife and brother, John Kerney gives up his West Texas ranch and heads south in search of a new home. Hard Country lives up to it's title. mar 12-14-12 Westering Women Sandra Dallas Angela Dawe Length: 9 hrs and 25 mins It's February, 1852, and all around Chicago, Maggie sees postings soliciting "eligible women" to travel to the gold mines of Goosetown. A young seamstress with a small daughter, she has nothing to lose. She joins 43 other women and two pious reverends on the dangerous 2, 000-mile journey. Riveting! Patricia 01-30-20 Dead Ringer A Western Trio Lloyd James Length: 6 hrs and 36 mins In the first in this trio of Western stories by Louis L'Amour. Black Rock. Jim Gatlin, a Texas trail driver, arrives in the town of Tucker where he finds himself drawn into the middle of an all-out battle for the XY Ranch when he kills the segundo of Wing Cary's Flying C Ranch. Travel back To another time. 05-04-19 Streets of Laredo Daniel Von Bargen Length: 21 hrs and 39 mins The final book of Larry McMurtry's Lonesome Dove tetralogy is an exhilarating tale of legend and heroism. Nicely wraps up the lonesome dove saga ckellymi 08-27-17 The Lonesome Gods Length: 15 hrs and 4 mins “I am Johannes Verne, and I am not afraid. ” This was the boys mantra as he plodded through the desert alone, left to die by his vengeful grandfather. Best Western Ever Char 02-08-11 Whiskey When We're Dry John Larison Sophie Amoss Length: 15 hrs and 24 mins In the spring of 1885, 17-year-old Jessilyn Harney finds herself orphaned and alone on her family's homestead. Desperate to fend off starvation and predatory neighbors, she cuts off her hair, binds her chest, saddles her beloved mare, and sets off across the mountains. Loved It! Radarchick 08-28-18 Comstock Lode Erik Singer Length: 15 hrs and 18 mins It was just a godforsaken mountainside, but no place on earth was richer in silver. For a bustling, enterprising America, this was the great bonanza. Awesome Story. Listen to it now! dc 08-13-12 Tucker Michael Crouch Length: 6 hrs and 8 mins Young Shell Tucker rode out after three men who had stolen the twenty thousand dollars his father was carrying. Two of the men he hunted, Doc Sites and Kid Reese, were his friends. another life lesson, from Louis L'amour Ed 06-16-17 How the West Was Won Joe Morton Length: 9 hrs They came by river and by wagon train, braving the endless distances of the Great Plains and the icy passes of the Sierra Nevada. I thought the movie was good! Skaught 03-08-13 A timely story of the anger and disaffection tearing apart many communities in this country, S. Hulses Eden Mine is also a beautiful novel of the West, of a deep love for the land, of faith in the face of evil, and of the terrible choices we make for the ones we love.

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Showcasing the best international short films Drama, Horror, Animation, Comedy and so much more learn more Update Required Here's a message which will appear if the video isn't supported. A Flash alternative can be used here if you fancy it. 2019 Schedule Click the button below to download the schedule for Beeston Film Festival 2019 Tickets available on the door or in advance on Eventbrite Download Schedule Buy Tickets What people say Beeston is fast becoming one of Nottinghams most popular areas, i believe one of the reasons for this is the passion and creativity the locals have shown towards the art industry. I attended the Beeston film festival, the talent, atmosphere & response was hugely positive John, the director of the event, is simply wonderful. I was unable to attend but the communication I've received through it all has been very warm and helpful. Not only did the festival team communicate every time, but they have even given exposure to my short film even after the festival ended. I'm looking forward to submitting again and being able to attend. This festival is worth it. Marlén Ríos-Farjat, Spain It was my pleasure to being selected in the festival, hopefully I can get selected in the future! I very much enjoyed my time at Beeston Film Festival. Excellent communication with the organizers, friendly / fun staff, some great choice of films. Overall, a brilliant experience. Great festival! Great Selection! Great Team! Beeston Film Festival is a wonderful event! John, the director of BFF, helped me a lot. Thanks John and the best BFF. John is an indefatigable organizer who loves great films and filmmakers. The lineup of films was good at this wonderful, intimate festival, and the welcome was warm! Definitely worth submitting your film here.

18 wins & 3 nominations. See more awards  » Learn more More Like This Short, Biography Drama 1 2 3 4 5 6 7 8 9 10 6. 6 / 10 X Greta's story shows that a beginning is still possible, always and everywhere. The film is based on a true story. Director: Marco Gadge Stars: Maximilian Braun, Francis Fulton-Smith, Vladislav Grakovskiy Phil Brough Leigh Hart, Ella Wilks, Julian Brough Fantasy 8 / 10 Baghead is a ghost story. Kevin is haunted by grief and has questions that only the recently deceased can answer. His search takes him to the most unremarkable of locations, a grotty. See full summary  » Alberto Corredor Oliver Walker, Natalie Oliver, Julian Seager Comedy 6. 9 / 10 In a loveless marriage, Penny finds solace in the hypnotic escape of the home shopping channel. When things take an unexpected turn, the channel proves to be her saving grace - or perhaps it was the origin of the problem all along. Dev Patel Sophie Kargman, Armie Hammer, Thomas Sadoski 7. 3 / 10 During a professional conference in Prague, two interpreters in the Hungarian booth realize that only one person is listening to them. They vie for her attention. Barnabás Tóth Pál Göttinger, Andrea Osvárt, Géza Takács 7. 6 / 10 Set in a surface mine, two boys sink into a seemingly innocent power game with Mother Nature as the sole observer. Jeremy Comte Félix Grenier, Alexandre Perreault, Louise Bombardier 7. 2 / 10 The young girl Mila wakes up in an unknown world full of mysteries. On her journey through ever changing surreal landscapes she meets her lost lover Theo. Mila has to learn that love also means to let go. Tanja Mairitsch Saskia Rosendahl, Frowin Wolter 6 / 10 Following his ruin in the latest banking crisis, a self-made millionaire reluctantly re-unites with his estranged freewheeling brother to re-open the abandoned fish and chip shop they shared in their youth. Marcus Markou Carl Rice, Stephen Dillane, Selina Cadell Romance Chris has found happiness being a marriage guidance therapist. One day, his first girlfriend and her husband walk in looking for his help. Old flames are rekindled. Now Chris has to choose between the job and the married woman. Vic Bryson, James Garnon, Lucy McGuinness History 6. 3 / 10 The story of Joan Stanley (Dame Judi Dench) who was exposed as the K. G. B. 's longest-serving British spy. Trevor Nunn Judi Dench, Sophie Cookson, Stephen Campbell Moore Mystery 7 / 10 A young writer brings a collection of short stories to a big Moscow publishing house. The manuscript stays at the office and mysteriously influences the lives of anyone who opens it and. See full summary  » Mikhail Segal Andrey Merzlikin, Darya Nosik, Andrey Petrov A former boy band star in the midst of a mid-life crisis strikes up an unlikely friendship with a teenage petty thief. Edit Storyline Alistair and Samir meet five different times, but it is only when they meet as old men that they can finally put their prejudices aside and meet as friends. This film champions friendship and compassion over separation and distrust. Plot Summary Add Synopsis Details Release Date: 2 December 2017 (USA) See more  » Company Credits Technical Specs See full technical specs  ».


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Fantastic, would defo recommend, saw this at Manhattan film festival, loved it.

Bury College University Centre Creative Media Production students enjoyed a career enhancing visit from an award-winning filmmaker. Marcus Markou, who is based in London, has won over 20 awards from worldwide festivals for his films, including short film   Two Strangers Who Meet Five Times   and feature film   Papadopoulos & Sons, which starred Games of Thrones actor Stephen Dillane (Stannis Baratheon. During the two-hour guest lecture, Marcus spoke about his own journey in the film industry before offering words of wisdom to the students. Marcus said; “Create your own path. Embrace the setbacks and rejections; these things point to a better way or place. ” The ambitious students thoroughly enjoyed the visit and left the workshop feeling motivated. Second year student Esther Thompson said, “It was refreshing to hear from someone in the industry; someone who has faced struggles to get where they are now. We watched his feature film in class and its inspiring to see how his own life has shaped his work. ” Marcus has also inspired the students to collaborate on a group film project outside of their studies. First year student Luke Jackson said, “Marcus really put into perspective that we should be making more content while were students. We all have different ambitions and would like to progress into different roles within the industry. I want to be a cinematographer and he said I should be using the college cameras and shooting lots of stuff. These short films will form part of our showreels. ” The first and second years will join forces to make a short film in 2020 and will be aiming to enter it into various festivals. For more information about the HE Media course available at Bury College please click   here.

Users of any Apple device must have an Apple ID. Its a kind of digital passport for journeying in Appleland. You need an Apple ID to enter, and it gives you certain rights. And it should be treated like a passport: Dont lend it to anyone, and dont borrow anyone elses. The first point is obvious. Giving someone your Apple ID means losing access to your own devices, your data, your subscriptions and so on. But questions often arise about why you should never enter someone elses Apple ID on your iPhone or iPad. Lets use Marcies story as a case study. Selling an iPhone After a year of tender loving care, Marcie decided to sell her iPhone X. It was so last-year, she simply had to upgrade to the XS, or at least the XR. Her first thought was eBay, plus an ad on Craigslist for good measure. Next came the question of price. The phone was in good shape, so she decided to aim high. She hadnt spent a year blowing dust off it for nothing. And not a single scratch! Sure, it might take a while to find a buyer, but Marcie was in no hurry. To her surprise, one appeared the very next day. A polite woman wrote that her husband really wanted to buy the iPhone, but he was terribly busy and couldnt drop by until the end of the week. But he really liked the fact that the device was in perfect condition, so he wanted to make an advance payment and pick it up later. To check that the phone really was A-OK, the woman asked Marcie to enter her husbands Apple ID into the device. If it worked, she would transfer the prepayment right there and then. Marcie was beaming — shed expected to wait at least a couple of weeks, but 24 hours later, it was all done. The woman had sent her husbands Apple ID e-mail and password. Marcie wondered why these people were so carefree about giving such valuable data to a total stranger. But that was not her problem, so she entered the information into the phone and informed the woman that everything was ready to be checked. And then something happened that Marcie wasnt expecting at all. A message appeared on the iPhone screen saying that the device was blocked, and that someone at such-and-such e-mail address had to be contacted to unblock it. There was no way past the black screen with its unpleasant tidings; the phone was blocked, period. The “polite woman” (read: fake account) no longer replied to Marcies messages. So Marcie wrote to the e-mail address provided, only to be informed that to get her phone unblocked, she would have to transfer a tidy sum in cryptocurrency. Marcie paused to think — there was no guarantee she wouldnt be deceived a second time. The iPhone itself was lying on the table like a useless brick, totally indifferent to Marcies inner turmoil. Besides being unsure about whether to pay, she was angry with herself for being so easily duped. Beware of strangers bearing Apple IDs As soon as you let someone enter their Apple ID on your Apple device, you effectively relinquish possession of it. And if that someone is a cybercriminal, they will not let go easily: having hoodwinked the victim, they block the device using the “Find my iPhone” feature in iCloud. This feature is intended to prevent a stranger who has found your lost phone from freely perusing its contents, and to display your contacts on the screen so the finder can contact you and return the phone. In this case, of course, the device was not lost. But as soon as the victim enters another persons Apple ID, the iPhone is immediately added to that persons list of associated devices in iCloud, and henceforth can do anything they like with it. Thus, a handy feature can serve nefarious purposes: Cybercriminals can use it to block iPhones and iPads — and then demand a ransom. So you should take care when selling used devices, but thats not the only case. A favorite social engineering technique among scammers is to cozy up to users of Apple-related forums, and then ask to enter their Apple ID under various pretexts like “my phones dead, my contacts are in iCloud, gotta call my boss urgently, please help, ” or something in that vein. But surely if you know the cybercriminals Apple ID e-mail and password, you can just log in to the Web version of iCloud and put things right? Nope. The fraudsters account is protected with two-factor authentication, so to log into their iCloud, you also need to enter the code sent to one of their devices. Naturally, only they have access to their devices, so simply knowing their Apple ID isnt enough. The moral of the story: Never enter someone elses Apple ID on your device. Even if they say please.

Jury Awards 2018 Feature, Narrative Comedy, Winner Funny Story by Michael Gallagher Comedy, Runner Up Miss Arizona by Autumn McAlpin Drama, Winner Driver X by Henry Barrial Drama, Runner Up Sadie by Megan Griffiths Feature, Documentary Winner, Dawnland by Adam Mazo and Ben Pender-Cudlip Runner Up, Black Memorabilia by Chico Colvard Short, Narrative Winner, Comedy Pickle by Grant Moore Winner, Drama The Lightkeeper by Zach Bandler Short, Documentary Winner, The Driver is Red by Randall Christopher Runner Up Little Fiel by Irina Patakani Honorable Mention, Everything Connects by Dylan DHaeze Short, Animation Winner, Proxy by Haidi Marburger Audience Awards 2018 Best of the Fest Skid Row Marathon by Mark Hayes Best Feature, Narrative Winner, In Reality by Ann Lupo 1st Runner Up: Farmer of the Year by Vince OConnell and Kathy Swanson 2nd Runner Up: Sadie by Megan Griffiths Best Feature, Documentary Winner, Pick of the Litter by Don Hardy and Dana Nachman 1st Runner Up: Manry At Sea: In the Wake of a Dream by Steve Wystrach 2nd Runner Up: Dawnland by Adam Mazo and Ben Pender-Cudlip Best Short, Drama Winner, Two Strangers Who Meet Five Times by Marcus Markou 1st Runner Up: Oksijan by Edward Watts 2nd Runner Up: Dont Be Afraid by Lakshmi Devy Best Short, Comedy Winner, Pie by Adria Tennor 1st Runner Up: Rag Dolls by Justin and Kristin Schaak 2nd Runner Up: The Adventures of Penny Patterson by Stephanie Donnelly Best Short, Documentary Winner, Felix by Allison Otto 1st Runner Up: Keeper by Marnie Crawford Samuelson and Shane Hofeldt 2nd Runner Up: Hola Kitty!  Daniel Queiroz Burity Best Short, Animation Winner, Liberty & Justice: A Cautionary Tale in the Land of the Free by Salley Mavor, Rob Goldsborough and Matthias Bossi 1st Runner Up: Elephants Song by Lynn Tomlinson 2nd Runner Up: The Driver Is Red by Randall Christopher Directors Choice Awards 2018 Best Cinematography Feature Film All the Wild Horses by Ivo Marloh, Cinematography by Ivo Marloh and Michael J. Sanderson Short Film The Lightkeeper by Zach Bandler, Cinematography by Jon Keng Emerging New England Filmmaker (sponsored by Talamas) Keepers of the Light by Liz Witham and Ken Wentworth Emerging Filmmaker, Non-New England The Limit Of by Alan Mulligan Best Actor, Adult Farmer of the Year – Barry Corbin Best Actor, Youth Bullies – Kaden Hetherington Best Actress, Adult In Reality – Ann Lupo Best Actress, Youth Chandler – Zephyr Ingle Sadie – Sophia Mitri Schloss Fortitude in Filmmaking Afghan Cycles by Sarah Menzies, Anna Brones, Shannon Galpin, Jenny Nichols Screenwriting Awards 2018 Comedy Short First Runner Up:  The Kosher Mutiny (Pilot Episode of Maxs Deli) by Jim Norman WINNER:  Gasp by Gregory Orr Dramatic Short First Runner Up:  The Projectionist by Guy Pooles WINNER: Leaving Malcolm by Annemarie Bettica Comedy Feature First Runner Up: One Night in the Bruised Diamond  by Anthony Longman WINNER: The Hero of the World  by Staci Greason and Linda Hill Dramatic Feature First Runner Up:  Crossing Currents by Jorge Perez WINNER:  Tres Huevos by Ruben L. Ruiz, Richard Grant and Johnny Ferguson.

2hr 30min, Not Rated Which of these ten short films is best? Thats up to a worldwide audience to decide. Cinema-goers across the United States and around the globe will become instant film critics as they are handed a ballot upon entry that allows them to vote for the Best Film and Best Actor. MANHATTAN SHORT is the ultimate audience award that salutes the creative talents of both directors behind the camera and actors in front of it. Votes will be sent through to MANHATTAN SHORT HQ with the winner announced at Manhattan on Monday Oct 7, at 10AM EST. NEFTA FOOTBALL CLUB Directed by:  Yves Piat Country:  France Running Time:  17:00 Synopsis:  In Tunisia, two football-loving, young brothers find a donkey lost in the middle of the desert on the border with Algeria. But why is the animal wearing headphones over its ears? DEBRIS Directed by:  Julio Ramos Country:  USA Running Time:  14:00 Synopsis:  After a disastrous event on his construction site, Armando acts quickly to save his crew, but instead stumbles upon an unspeakable truth. An intense and visceral glimpse of the grim world of human labor trafficking. DRIVING LESSONS Directed by:  Marziyeh Riahi Country:  Iran Running Time:  12:48 Synopsis:  Local laws say Baharehs husband must accompany her to driving lessons so she and her instructor will not be alone, a task made more complicated when the two men dont get along. TIPPED Directed by:  Alysse Leite-Rogers Country:  Canada Running Time:  13:48 Synopsis:  A waitress at an upscale restaurant reaches her tipping point with a table of difficult customers and concocts a special dish of revenge. SYLVIA Directed by:  Richard Prendergast Country:  United Kingdom Running Time:  15:12 Synopsis:  Our love affair with the automobile means that a car can feel like it is part of the family. Sometimes its more than that. THE MATCH Directed by:  Pia Andell Country:  Finland Running Time:  15:38 Synopsis:  Two middle-aged women turn a friendly game of tennis into an intense competition but stand united at the end of the match when they discover one thing in common. MALOU Directed by:  Adi Wojaczek Country:  Germany Synopsis:  Rejected by a famed dance school, Malou gets a chance to prove that shes destined for a career as a dancer despite the odds seemingly stacked against her. THIS TIME AWAY Directed by:  Magali Barbe Synopsis:  An elderly man lives as a recluse, haunted by his past and memory of the family he once had, until a non-human visitor arrives and disrupts his isolation. A FAMILY AFFAIR Directed by:  Florence Keith-Roach Running Time:  13:08 Synopsis:  When Annabelle wakes up alone in a strangers bedroom on her 30th birthday, she thinks the day cannot get any worse. But then Bernard walks in and he is not the man of her dreams. AT THE END OF THE WORLD Directed by:  Fon Davis Synopsis:  In an apocalyptic future, a lonely government worker finds solace with a soldier during the last World War. But their future together is threatened when the soldier is sent back into battle.

As the tide came in and the moon began to wane on Saturday, James Gardners directorial debut hauled in a big catch in Brittanys annual celebration of British film. His first feature film nabbed the festival's first-time award for best actor and first-ever critics jury award as well as best screenplay, and the top award, the Golden Hitchcock. Liv Hill was only 16 when she acted in Jellyfish, her first feature-film part. She appears in almost every scene as 15-year-old Sarah Taylor whose single-parent mum is unable to cope. To keep the family from being separated by social services, Sarah looks after her mother as well as her two much younger siblings. She has to juggle domestic and parental duties with school, where she is disliked and mouthy. Moreover, as she is the sole breadwinner, she works in the evenings amid slot machines and needy, greedy men. Hill takes on a tough role as a youngster facing tough challenges and pulls it off. First radio interview Two years after the film was shot, in her first-ever radio interview, Hill talked to RFI about her character with as much aplomb as if it were her 500 th. "This was written before the #MeToo movement. she pointed out. "A lot of men in the film take advantage of Sarah, of her desperation. When shes getting money in the way that she does, you cant judge her for that, because shes so desperate. I think this is happening so much, in so many places around the world. ” In Hills view, the film is not entirely bleak. “Throughout her life shes surviving and not thriving which is what I think we should all try and aim for. Hill comments. "She just has no opportunity to do that. Whilst its not a fairy-tale ending, theres hope. ” Her performance stunned the jury of French and British actors, directors and one producer. They were led to break ground at Dinard by insisting on awarding her the festivals first-ever best actor prize describing her work in Jellyfish as "inspirational. Her anger is channelled through stand-up comic writing, and ultimately a performance on stage. Hill takes on the bitterness of this role wholeheartedly. "British humour is witty but can be very dark as well. Dead pan a lot of the time.  In such a heavy film like Jellyfish, the lighter moments are needed although, in my opinion, not all are that light. Critics hard to please “Bloody hell! Crikey! ” exclaimed James Gardner as his began his acceptance speech for the first Hitchcock award he received on Saturday for Jellyfish, announced by the professional film critics jury. “You are usually so hard to please”. Gardner was very modest, considering the crescendo of awards for Jellyfish at the Dinard film festival ceremony. It ended in Jellyfish winning the Golden Hitchcock, the top prize, which guarantees the film will release in France. In Jellyfish Gardner and director of photography Peter E Riches illuminate and magnify the British seaside resort of Margate, with its amusement arcade, Dreamland fun-park, and they turn traffic on a seafront roundabout into a choreography of indifference. J ellyfish screenwriter Simon Lord won the best screenplay Hitchcock and remarked that for “a little film made with a lot of heart" it was great to receive the award in Dinard, “another small town by the sea in France, just like Margate where the film is set, a small town by the sea in England. The uncertainty of pre-Brexit times weighed on the artists' minds in Dinard and Lord added, Thank you to France for being a friend while England is going through a difficult period. Public-school blues turn rosy One other feature film out of the six in competition won an award at Dinard, Toby McDonalds Old Boys with bilingual artist Alex Lawther playing Amberson the odd boy out at an English public school, who outsmarts the head boy and thumbs his nose at the system. The audience rooted for charming, clever Amberson-Lawther, the underdog. His flame Pauline Etienne from Belgium plays romantic and creative Agnès, the only female the inmates/pupils of the all-boys school get a chance to see. In a light, funny rom-com set about 30 years ago, Old Boys exposes more serious issues for youngsters and adults alike, which havent all disappeared since the public school system has modernised. The Hitchcock Awards 2018 at the Dinard Film Festival of British film: Golden Hitchcock (Cine. Jellyfish, James Gardner Hitchcock for Best Screenplay (Allianz) Jellyfish, Simon Lord 1 st -ever award for Best Actor: Liv Hill, as Sarah Taylor in Jellyfish 1 st -ever Critics Jury Hitchcock: Jellyfish, James Gardner Coup de Coeur/Heartbeat Western France Art House Cinema Network Hitchcock: The Bookshop, Isabel Coixet, a Dinard Preview Audience (Tetley Tea) Hitchcock: Old Boys, Toby McDonald Short Film Hitchcock: The Bridge, Ian Robertson Short film Jury special mention: Cabin Pressure, Matthew Lee Short Film Audience Hitchcock: Two Strangers who Meet Five Times, Marcus Markou Honorary (Barrière) Hitchcock: Actor Ian Hart.

Strangers on a Train Poster by Bill Gold Directed by Alfred Hitchcock Produced by Alfred Hitchcock Screenplay by Raymond Chandler Whitfield Cook Czenzi Ormonde Based on Strangers on a Train by Patricia Highsmith Starring Farley Granger Ruth Roman Robert Walker Music by Dimitri Tiomkin Cinematography Robert Burks Edited by William H. Ziegler Production company Transatlantic Pictures Distributed by Warner Bros. Release date June 30, 1951 Running time 101 minutes Country United States Language English Budget 1, 568, 000 [1] Box office 2, 932, 000 [1] Strangers on a Train is a 1951 American psychological thriller film noir produced and directed by Alfred Hitchcock, and based on the 1950 novel Strangers on a Train by Patricia Highsmith. It was shot in the autumn of 1950 and released by Warner Bros. on June 30, 1951. The film stars Farley Granger, Ruth Roman, and Robert Walker, and features Leo G. Carroll, the director's daughter Pat Hitchcock, and Laura Elliott. It is number 32 on AFI 's 100 Years. 100 Thrills. The story concerns two strangers who meet on a train, a young tennis player and a charming psychopath. The psychopath suggests that because they each want to "get rid" of someone, they should "exchange" murders, and that way neither will be caught. The psychopath commits the first murder, then tries to force the tennis player to complete the bargain. Plot [ edit] Amateur tennis star Guy Haines ( Farley Granger) wants to divorce his vulgar, promiscuous wife Miriam ( Laura Elliott) so he can marry the elegant Anne Morton ( Ruth Roman) the daughter of a US Senator. On a train, Haines meets a psychopath, Bruno Antony ( Robert Walker) who tells him about his idea for a murder scheme: two perfect strangers meet and "swap murders"—Bruno suggests he kill Miriam and Guy kill Bruno's hated father. Each will kill a total stranger with no apparent motive, so neither will be suspected. Guy humors Bruno by pretending to find his idea amusing, but Bruno mistakes Guy's response as agreement to the scheme. Eager to get away from Bruno, Guy forgets his monogrammed cigarette lighter, engraved “A to G” with crossed tennis rackets, which Bruno keeps. Guy meets with Miriam, who is pregnant by someone else, at her workplace in Metcalf, their hometown. Miriam informs Guy that she no longer wants to end their marriage and threatens to blackmail him by claiming that the baby is his to thwart any divorce. After they argue loudly in front of Miriam's co-workers and Guy shakes her violently, Guy calls Anne and, speaking figuratively, says he would like to kill Miriam. Later, Bruno follows Miriam to an amusement park and strangles her to death while Guy is traveling on a train. When Guy arrives home, Bruno informs him Miriam is dead and insists he honor their deal by killing Bruno's father. Guy goes to the Mortons' Washington, D. C. home, where Anne's father, Senator Morton ( Leo G. Carroll) informs Guy that his wife has been murdered. Guy feigns ignorance, but Anne's sister Barbara ( Patricia Hitchcock) says that the police will think that Guy is the murderer as he has a motive. The police question Guy, but are unable to confirm his alibi: a professor ( John Brown) Guy claims he met on the train was so drunk that he cannot remember their encounter. Instead of arresting Guy, the police assign a round-the-clock escort to ensure that he does not flee while they investigate. To pressure Guy, Bruno follows him around Washington, introduces himself to Anne, and appears at a party at Senator Morton's house. To amuse another guest ( Norma Varden) Bruno demonstrates how to strangle someone by playfully putting his hands around her neck. His gaze falls upon Barbara, whose glasses and physical appearance resemble Miriam's. This triggers a flashback and he actually starts to strangle the woman before blacking out. Barbara tells Anne that Bruno was looking at her while strangling the other woman and Anne realizes that Barbara resembles Miriam. Her suspicions aroused, Anne confronts Guy, who tells her the truth about Bruno's crazy scheme. Bruno sends Guy a pistol, a house key and a map showing the location of his father's bedroom. Guy pretends to agree to Bruno's plan. He creeps into Bruno's father's room hoping to warn him of his son's murderous intentions, but instead he finds Bruno there waiting for him. He tells Guy he became suspicious when he suddenly agreed to honor their bargain and made sure his father was away. Guy tries to persuade Bruno to seek psychiatric help; Bruno threatens to punish Guy for betraying him and make Guy pay for the crime from which he is benefiting. Anne visits Bruno's house and unsuccessfully tries to explain to his befuddled mother ( Marion Lorne) that her son is a murderer. Bruno mentions Guy's missing cigarette lighter to Anne and claims that Guy asked him to search the murder site for it; Guy rightly surmises Bruno intends to incriminate him by planting it there. After winning a match at Forest Hills, Guy eludes the police and heads for the amusement park to prevent Bruno from planting the lighter. Bruno is delayed at Metcalf when he accidentally drops Guy's lighter down a storm drain and must retrieve it. When Bruno arrives at the amusement park, a carnival worker recognizes him from the night of the murder; he informs the police, who mistakenly think he means Guy. After Guy arrives, he and Bruno fight on the park's carousel. Thinking Guy is trying to escape, a police officer shoots at him but instead kills the carousel operator, causing the carousel to spin out of control. A carnival worker crawls under the fast-moving carousel and applies the brakes but the mechanism fails, causing the carousel to crash; Bruno is trapped underneath it and mortally injured. The worker who recognized Bruno tells the police chief that he has never seen Guy before. Guy tells the police that Bruno was attempting to plant his lighter at the murder scene. As Bruno dies, his fingers open to reveal Guy's lighter in his hand. Cast [ edit] In one of his trademark cameos, Hitchcock boards the train in Metcalf after Farley Granger's character exits. Farley Granger as Guy Haines Ruth Roman as Anne Morton Robert Walker as Bruno Antony Leo G. Carroll as Senator Morton Patricia Hitchcock as Barbara Morton Laura Elliott as Miriam Joyce Haines Marion Lorne as Mrs. Antony Jonathan Hale as Mr. Antony Howard St. John as Police Capt. Turley John Brown as Professor Collins Norma Varden as Mrs. Cunningham Robert Gist as Detective Hennessey John Doucette as Detective Hammond (uncredited) Georges Renavent as Monsieur Darville (uncredited) Odette Myrtil as Madame Darville (uncredited) Murray Alper as Boatman who recognizes Bruno (uncredited) Barry Norton as Tennis Match Spectator (uncredited) Alfred Hitchcock's cameo appearance in this movie occurs 11 minutes into the film. He is seen carrying a double bass as he climbs onto a train. Young Louis Lettieri, 2] a child actor during the 1950s, plays a little boy who has his balloon maliciously popped by Bruno in the amusement park murder scene. Hitchcock said that correct casting saved him "a reel of storytelling time" since audiences would sense qualities in the actors that did not have to be spelled out. [3] Hitchcock said that he originally wanted William Holden for the Guy Haines role, 4] 5] but Holden declined. "Holden would have been all wrong—too sturdy, too put off by Bruno" writes critic Roger Ebert. [3] Granger is softer and more elusive, more convincing as he tries to slip out of Bruno's conversational web instead of flatly rejecting him. 3] Warner Bros. wanted their own stars, already under contract, cast wherever possible. In the casting of Anne Morton, Jack L. Warner got what he wanted when he assigned Ruth Roman to the project, over Hitchcock's objections. [6] The director found her "bristling" and "lacking in sex appeal" and said that she had been "foisted upon him. 7] Perhaps it was the circumstances of her forced casting, but Roman became the target of Hitchcock's scorn throughout the production. [8] Granger diplomatically described it as Hitchcock's "disinterest" in the actress, and said he saw Hitchcock treat Edith Evanson the same way on the set of Rope (1948. He had to have one person in each film he could harass" Granger said. [8] Kasey Rogers (whose performance as Miriam is credited as Laura Elliott) noted that she had perfect vision at the time the movie was made, but Hitchcock insisted she wear the character's thick eyeglasses, even in long shots when regular glass lenses would have been undetectable. Rogers was effectively blind with the glasses on and needed to be guided by the other actors. [9] In one scene, she can be seen dragging her hand along a table as she walks, so she could keep track of where she was. Production [ edit] Pre-production [ edit] Hitchcock secured the rights to the Patricia Highsmith novel for just 7, 500 since it was her first novel. As usual, Hitchcock kept his name out of the negotiations to keep the purchase price low. [10] Highsmith was quite annoyed when she later discovered who bought the rights for such a small amount. [11] Securing the rights to the novel was the least of the hurdles Hitchcock would have to vault to get the property from printed page to screen. He got a treatment that pleased him on the second attempt, from writer Whitfield Cook, who wove a homoerotic subtext (only hinted at in the novel) into the story and softened Bruno from a coarse alcoholic into a dapper, charming mama's boy — a much more Hitchcockian villain. [12] With treatment in hand, Hitchcock shopped for a screenwriter; he wanted a "name" writer to lend some prestige to the screenplay, but was turned down by eight writers, including John Steinbeck and Thornton Wilder, all of whom thought the story too tawdry and were put off by Highsmith's first-timer status. [13] Talks with Dashiell Hammett got further, 11] but here too communications ultimately broke down, and Hammett never took the assignment. [11] Hitchcock then tried Raymond Chandler, who had earned an Oscar nomination for his first screenplay, Double Indemnity, in collaboration with Billy Wilder. [11] 14] Chandler took the job despite his opinion that it was "a silly little story. 13] But Chandler was a notoriously difficult collaborator and the two men could not have had more different meeting styles: Hitchcock enjoyed long, rambling off-topic meetings where often the film would not even be mentioned for hours, while Chandler was strictly business and wanted to get out and get writing. He called the meetings "god-awful jabber sessions which seem to be an inevitable although painful part of the picture business. 11] Interpersonal relations deteriorated rapidly until finally Chandler became openly combative; at one point, upon viewing Hitchcock struggling to exit from his limousine, Chandler remarked within earshot, Look at the fat bastard trying to get out of his car. 15] This would be their last collaboration. Chandler completed a first draft, then wrote a second, without hearing a single word back from Hitchcock; when finally he did get a communication from the director in late September, it was his dismissal from the project. [15] Next, Hitchcock tried to hire Ben Hecht, but learned he was unavailable. Hecht suggested his assistant, Czenzi Ormonde, to write the screenplay. [15] Although Ormonde was without a formal screen credit, she did have two things in her favor: her recently published collection of short stories, Laughter From Downstairs, was attracting good notices from critics, and she was "a fair-haired beauty with long shimmering hair. [16] —always a plus with Hitchcock. With his new writer, he wanted to start from square one: At their first conference, Hitchcock made a show of pinching his nose, then holding up Chandler's draft with his thumb and forefinger and dropping it into a wastebasket. He told the obscure writer that the famous one hadn't written a solitary line he intended to use, and they would have to start all over on page one, using Cook's treatment as a guide. The director told Ormonde to forget all about the book, then told her the story of the film himself, from beginning to end. [16] There was not much time though — less than three weeks until location shooting was scheduled to start in the east. Ormonde hunkered down with Hitchcock's associate producer Barbara Keon—disparagingly called "Hitchcock's factotum" by Chandler [17] —and Alma Reville, Hitchcock's wife. Together the three women, working under the boss's guidance and late into most nights, 15] finished enough of the script in time to send the company east. The rest was complete by early November. [17] Three notable additions the trio had made were the runaway merry-go-round, the cigarette lighter, and the thick eyeglasses. [18] There was one point of agreement between Chandler and Hitchcock, although it would come only much later, near the release of the film: they both acknowledged that since virtually none of Chandler's work remained in the final script, his name should be removed from the credits. [17] Hitchcock preferred the writing credit of Whitfield Cook and Czenzi Ormonde, but Warner Bros. wanted the cachet of the Chandler name and insisted it stay on. [17] Even while the torturous writing stage was plodding its course, the director's excitement about the project was boundless. "Hitchcock raced ahead of everyone: the script, the cast, the studio. pieces of the film were dancing like electrical charges in his brain. 19] The more the film resolved in his mind's eye, the more he knew his director of photography would play a critical role in the scenes' execution. He found exactly what he needed right on the Warners lot in the person of staff cameraman Robert Burks, who would continue to work with Hitchcock, shooting every Hitchcock picture through to Marnie (1964) with the exception of Psycho. [20] Low-keyed, mild mannered" Burks was "a versatile risk-taker with a penchant for moody atmosphere. Burks was an exceptionally apt choice for what would prove to be Hitchcock's most Germanic film in years: the compositions dense, the lighting almost surreal, the optical effects demanding. 21] None was more demanding than Bruno's strangulation of Miriam, shown reflected in her eyeglass lens: It was the kind of shot Hitchcock had been tinkering with for twenty years—and Robert Burks captured it magnificently. 22] Burks considered his fourteen years with Hitchcock the best of his career: You never have any trouble with him as long as you know your job and do it. Hitchcock insists on perfection. He has no patience with mediocrity on the set or at a dinner table. There can be no compromise in his work, his food or his wines. 20] Robert Burks received the film's sole Academy Award nomination for its black and white photography. [22] With cast nailed down, a script in hand, and a director of photography in tune with Hitchcock's vision on board, the company was ready to commence filming. Hitchcock had a crew shoot background footage of the 1950 Davis Cup finals held August 25–27, 1950 at the West Side Tennis Club in Forest Hills, New York. While there, the crew had done some other location scouting. [23] Exteriors would be shot on both coasts, and interiors on soundstages at Warners. Hitchcock and his cast and crew decamped for the East Coast on October 17, 1950. [6] For six days, they shot at Penn Station in New York City, at the railroad station at Danbury, Connecticut —which became Guy's hometown Metcalf—and in spots around Washington, D. [6] By month's end, they were back in California. Hitchcock had written exacting specifications for an amusement park, which was constructed on the ranch of director Rowland Lee in Chatsworth, California. [8] The amusement park exteriors were shot there and at an actual Tunnel of Love at a fairground in Canoga Park, California. [8] Hitchcock had already shot the long shots for the tennis match at Forest Hills and would add closer shots with Granger and Jack Cushingham, Granger's tennis coach off-screen and Guy's tennis opponent Fred Reynolds on-screen at a tennis club in South Gate, California. [20] The rest of the shooting would take place on Warner soundstages, including many seemingly exterior and on-location shots that were actually done inside in front of rear-projection screens. Strangers on a Train marked something of a renaissance for Hitchcock, after several years of low enthusiasm for his late-1940s output, 24] and he threw himself into the micromanagement of some of its production. Hitchcock himself designed Bruno's lobster necktie, revealed in a close-up to have strangling lobster claws, 25] and "he personally selected an orange peel, a chewing-gum wrapper, wet leaves, and a bit of crumpled paper that were used for sewer debris" 20] in the scene where Bruno inadvertently drops Guy's lighter down the storm drain. He also showed intense interest in a seldom-considered detail of character delineation: Food. "Preferences in food characterize people. Hitchcock said. "I have always given it careful consideration, so that my characters never eat out of character. Bruno orders with gusto and with an interest in what he is going to eat — lamb chops, French fries, and chocolate ice cream. A very good choice for train food. And the chocolate ice cream is probably what he thought about first. Bruno is rather a child. He is also something of a hedonist. Guy, on the other hand, shows little interest in eating the lunch, apparently having given it no advance thought, in contrast to Bruno, and he merely orders what seems his routine choice, a hamburger and coffee. 26] Hitchcock and Burks collaborated on a double printing technique to create this iconic shot still studied in film schools today. One of the most memorable single shots in the Hitchcock canon — it "is studied by film classes" says Laura Elliott, who played Miriam [27] – is her character's strangulation by Bruno on the Magic Isle. I]n one of the most unexpected, most aesthetically justified moments in film. 28] the slow, almost graceful, murder is shown as a reflection in the victim's eyeglasses, which have been jarred loose from her head and dropped to the ground. The unusual angle was a more complex proposition than it seems. First Hitchcock got the exterior shots in Canoga Park, using both actors, then later he had Elliott alone report to a soundstage where there was a large concave reflector set on the floor. The camera was on one side of the reflector, Elliott was on the other, and Hitchcock directed Elliott to turn her back to the reflector and "float backwards, all the way to the floor. like you were doing the limbo. 29] The first six takes went badly—Elliott thudded to the floor with several feet yet to go [22] —but on the seventh take, she floated smoothly all the way. Hitchcock's even-strained response: Cut. Next shot. 29] Hitchcock then had the two elements "ingenious[ly] double printed, 30] yielding a shot of "oddly appealing originality [with] a stark fusion of the grotesque and the beautiful. The astheticizing of the horror somehow enables the audience to contemplate more fully its reality. 28] Hitchcock was, above all, the master of great visual setpieces, 31] and " p]erhaps the most memorable sequence in Strangers on a Train is the climactic fight on a berserk carousel. 20] While Guy and Bruno fight, the ride runs out of control until it tears itself to pieces, flinging wooden horses into the crowd of screaming mothers and squealing children. "The climactic carousel explosion was a marvel of miniatures and background projection, acting close-ups and other inserts, all of it seamlessly matched and blended under film editor William H. Ziegler 's eye. 21] Hitchcock took a toy carousel and photographed it blown up by a small charge of explosives. This piece of film he then enlarged and projected onto a vast screen, positioning actors around and in front of it so that the effect is one of a mob of bystanders into which plaster horses and passengers are hurled in deadly chaos. It is one of the moments in Hitchcock's work that continues to bring gasps from every audience and applause from cinema students. [32] The explosion is triggered by the attempts of a carnival man to stop the ride after crawling under the whirling carousel deck to get to the controls in the center. Although Hitchcock admitted to undercranking the shot (artificially accelerating the action. 33] it was not a trick shot: the man actually had to crawl under the spinning ride, just inches from possible injury. "Hitchcock told me that this scene was the most personally frightening moment for him in any of his films" writes biographer Charlotte Chandler. "The man who crawled under the out-of-control carousel was not an actor or a stuntman, but a carousel operator who volunteered for the job. 'If the man had raised his head even slightly" Hitchcock said, it would have gone from being a suspense film into a horror film. 34] The final scene of the so-called American version of the film has Barbara and Anne Morton waiting for Guy to call on the telephone. Hitchcock wanted the phone in the foreground to dominate the shot, emphasizing the importance of the call, but the limited depth-of-field of contemporary motion picture lenses made it difficult to get both phone and women in focus. So Hitchcock had an oversized phone constructed and placed in the foreground. [27] Anne reaches for the big phone, but actually answers a regular one: I did that on one take" Hitchcock explained, by moving in on Anne so that the big phone went out of the frame as she reached for it. Then a grip put a normal-sized phone on the table, where she picked it up. 27] Principal photography wrapped just before Christmas, and Hitchcock and Alma left for a vacation in Santa Cruz, 25] then in late March 1951, on to St. Moritz, for a 25th anniversary European excursion. [35] Music [ edit] Composer Dimitri Tiomkin was Jack Warner's choice to score Strangers on a Train. While he had previous Hitchcock experience on Shadow of a Doubt (1943) and would go on to score two more consecutive Hitchcock films, the director and composer "simply never developed much of a kinship" 21] and "the Hitchcock films are not Tiomkin's best. 21] Nevertheless, the score does pick up on the ubiquitous theme of doubles — often contrasting doubles — right from the opening title sequence: The first shot — two sets of male shoes, loud versus conservative, moving toward a train — carries a gruff bass motif set against Gershwin-like riffs, a two-part medley called "Strangers" and "Walking" that is never heard again. 36] The powerful music accurately underscores the visuals of that title sequence — the massive granite edifice of New York's Pennsylvania Station, standing in for Washington's Union Station—because it was scored for an unusually large orchestra, including alto, tenor and baritone saxes, three clarinets, four horns, three pianos and a novachord. [37] Tiomkin's contrasting musical themes continued throughout the film, delineating two characters with substantial differences: For 'Guy's Theme' Tiomkin created a hesitant, passive idea, made-to-order music for Farley Granger's performance. 36] Bruno, who tells Guy on the train that he admires people "who do things" gets a more vigorous musical treatment from Tiomkin: Harmonic complexity defines the motifs associated with Bruno: rumbling bass, shocking clusters, and glassy string harmonics. These disturbing sounds, heard to superb effect in cues such as 'The Meeting. Senator's Office. and 'Jefferson Memorial. are not just about Bruno, but about how he is perceived by those whose lives he crosses—first Guy, then everyone in Guy's entourage. 36] But perhaps the most memorable music in Strangers is the calliope music, 21] heard first at the fairground and again, later, when Bruno is strangling Mrs. Cunningham at Senator Morton's soirée, and experiences his unfortunate flashback and subsequent fainting spell. It was Hitchcock, not Tiomkin, whose idea brought the four evocative numbers [21] — " The Band Played On. Carolina in the Morning. Oh, You Beautiful Doll. and " Baby Face " — to the soundtrack: quote,In one of Hitchcock's most explicit operatic gestures, the characters at the fateful carnival sing the score, giving it full dimension as part of the drama. In a conventional movie, the tune would play in the background as a clever ironic backdrop. But Hitchcock takes music to another level. Miriam and the two boyfriends in her odd ménage à trois bring "The Band Played On" to life by singing it on the merry-go-round, lustily and loudly. Grinning balefully on the horse behind them, Bruno then sings it himself, making it his motto. The band plays on through Bruno's stalking of his victim and during the murder itself, blaring from the front of the screen, then receding into the darkness as an eerie obbligato when the doomed Miriam enters the Tunnel of Love. [38] The Band Played On" makes its final reprise during Guy's and Bruno's fight on the merry-go-round, even itself shifting to a faster tempo and higher pitch when the policeman's bullet hits the ride operator and sends the carousel into its frenzied hyper-drive. Critic Jack Sullivan had kinder words for Tiomkin's score for Strangers than did biographer Spoto. S]o seamlessly and inevitably does it fit the picture's design that it seems like an element of Hitchcock's storyboards" he writes. [39] It is a score that "goes largely uncelebrated. 39] Promotion and release [ edit] With a release scheduled for early summer, the studio press agents swung into high gear early in 1951. Hitchcock, promotionally photographed many times over the years strangling various actresses and other women — some one-handed, others two — found himself in front of a camera with his fingers around the neck of a bust of daughter Patricia; 25] the photo found its way into newspapers nationwide. [40] He was also photographed adding the letter L to Strangers on the official studio poster for the film, 25] thus changing the word to Stranglers. One studio press release gave rise to a myth that still lingers on today. [41] Hitchcock and Patricia both were afraid of heights, and father offered daughter a hundred dollars to ride the Ferris wheel — only to order the power cut, leaving her in the dark at the very top of the ride. The press release embellished the tale, claiming he left her "dangling in total darkness for an hour. 35] only then allowing his "trembling daughter" to be lowered and released. [35] Although that account continues to be published in books to this day, it just wasn't true" according to Patricia Hitchcock O'Connell. [42] First of all, she was not up there alone: flanking her were the actors playing Miriam's two boyfriends — "and I have a picture of us waving. 42] This was good stuff for press agents paid to stir up thrills and it has been repeated in other books to bolster the idea of Hitchcock's sadism. 35] but "we were [only] up there two or three minutes at the outside. My father wasn't ever sadistic. The only sadistic part was I never got the hundred dollars. 42] Strangers on a Train previewed on March 5, 1951 at the Huntington Park Theatre, with Alma, Jack Warner, Whitfield Cook and Barbara Keon in the Hitchcock party [25] and it won a prize from the Screen Directors Guild. [43] It premiered in New York on July 3, marking the reopening of the extensively remodeled Strand Theatre as the Warner Theatre, and in a dozen cities around the country. [43] Hitchcock made personal appearances in most of them, and was often accompanied by his daughter. Some audience feedback arriving at Jack Warner's office condemned the film for its sordid story, while just as many others were favorable. [43] Of greater interest to Warner was the box office take, and the "receipts soon told the true story: Strangers on a Train was a success, and Hitchcock was pronounced at the top of his form as master of the dark, melodramatic suspense thriller. 43] Themes and motifs [ edit] The film includes a number of puns and visual metaphors that demonstrate a running motif of crisscross, double-crossing, and crossing one's double. Talking about the structure of the film, Hitchcock said to Truffaut, Isn't it a fascinating design? One could study it forever. 4] The two characters, Guy and Bruno, can be viewed as doppelgängers. As with Shadow of a Doubt, Strangers on a Train is one of many Hitchcock films to explore the doppelgänger theme. The pair has what writer Peter Dellolio refers to as a "dark symbiosis. 44] Bruno embodies Guy's dark desire to kill Miriam, a "real-life incarnation of Guy's wish-fulfillment fantasy. 44] Doubles [ edit] The theme of doubles is "the key element in the film's structure. 45] and Hitchcock starts right off in his title sequence making this point: there are two taxicabs, two redcaps, two pairs of feet, two sets of train rails that cross twice. Once on the train, Bruno orders a pair of double drinks — "The only kind of doubles I play" he says charmingly. In Hitchcock's cameo he carries a double bass. There are two respectable and influential fathers, two women with eyeglasses, and two women at a party who delight in thinking up ways of committing the perfect crime. There are two sets of two detectives in two cities, two little boys at the two trips to the fairground, two old men at the carousel, two boyfriends accompanying the woman about to be murdered, and two Hitchcocks in the film. [45] Hitchcock carries the theme into his editing, crosscutting between Guy and Bruno with words and gestures: one asks the time and the other, miles away, looks at his watch; one says in anger "I could strangle her. and the other, far distant, makes a choking gesture. [45] This doubling has some precedent in the novel; but more of it was deliberately added by Hitchcock, dictated in rapid and inspired profusion to Czenzi Ormonde and Barbara Keon during the last days of script preparation. 45] It undergirds the whole film because it finally serves to associate the world of light, order, and vitality with the world of darkness, chaos, lunacy and death. 46] Guy and Bruno are in some ways doubles, but in many more ways, they are opposites. The two sets of feet in the title sequence match each other in motion and in cutting, but they immediately establish the contrast between the two men: the first shoes "showy, vulgar brown-and-white brogues; the] second, plain, unadorned walking shoes. 47] They also demonstrate Hitchcock's gift for deft visual storytelling: For most of the film, Bruno is the actor, Guy the reactor, and Hitchcock always shows Bruno's feet first, then Guy's. And since it is Guy's foot that taps Bruno's under the table, we know Bruno has not engineered the meeting. [47] Roger Ebert wrote that "it is this sense of two flawed characters — one evil, one weak, with an unstated sexual tension — that makes the movie intriguing and halfway plausible, and explains how Bruno could come so close to carrying out his plan. 3] Darkness–light continuum [ edit] It is those flaws that set up the real themes of Strangers. It was not enough for Hitchcock to construct merely a world of doubles — even contrasting doubles — in a strict polar-opposite structure; for Hitchcock, the good-and-evil, darkness-and-light poles "didn't have to be mutually exclusive. 3] Blurring the lines puts both Guy and Bruno on a good-evil continuum, and the infinite shades of gray in between, became Hitchcock's canvas for telling the story and painting his characters. At first glance, Guy represents the ordered life where people stick to rules, while Bruno comes from the world of chaos, 48] where they get thrown out of multiple colleges for drinking and gambling. Yet " b]oth men, like so many of Hitchcock's protagonists, are insecure and uncertain of their identity. Guy is suspended between tennis and politics, between his tramp wife and his senator's daughter, and Bruno is seeking desperately to establish an identity through violent, outré actions and flamboyance (shoes, lobster-patterned tie, name proclaimed to the world on his tiepin. 49] Bruno tells Guy early on that he admires him: I certainly admire people who do things" he says. "Me, I never do anything important. Yet as Bruno describes his "theories" over lunch, Guy responds to Bruno — we see it in his face, at once amused and tense. To the man committed to a career in politics, Bruno represents a tempting overthrow of all responsibility. 47] And at this point the blurring of good and evil accelerates: Guy fails to repudiate Bruno's suggestive statement about murdering Miriam ( What's a life or two, Guy? Some people are better off dead. with any force or conviction. "When Bruno openly suggests he would like to kill his wife, he merely grins and says 'That's a morbid thought. but we sense the tension that underlies it. 47] It ratchets up a notch when Guy leaves Bruno's compartment and "forgets" his cigarette lighter. "He is leaving in Bruno's keeping his link with Anne, his possibility of climbing into the ordered existence to which he aspires. Guy, then, in a sense connives at the murder of his wife, and the enigmatic link between him and Bruno becomes clear. [50] Light and dark onscreen [ edit] Having given his characters overlapping qualities of good and evil, Hitchcock then rendered them on the screen according to a very strict template, with which he stuck to a remarkable degree. Ebert wrote: Hitchcock was a classical technician in terms of controlling his visuals, and his use of screen space underlined the tension in ways the audience isn't always aware of. He always used the convention that the left side of the screen is for evil and/or weaker characters, while the right is for characters who are either good or temporarily dominant. [51] Nowhere is this more evident than the scene where Guy arrives home at his D. apartment to find Bruno lurking across the street; Bruno killed Miriam that evening in Metcalf, and has her glasses to give to Guy almost as a "receipt" that he has executed his part of their "deal. On one side of the street, are] stately respectable houses; towering in the background, on the right of the screen, the floodlit dome of the U. S. Capitol, the life to which Guy aspires, the world of light and order. 52] Bruno tells Guy what he has done and gives him the glasses. "You're a free man now" he says, just as a police car drives up, looking for the husband of a certain recent murder victim. Guy nervously steps into the shadows with Bruno, literally behind the bars of an iron fence; You've got me acting like I'm a criminal" he says. "The scene gives a beautifully exact symbolic expression to Guy's relationship with Bruno and what he stands for. 52] Hitchcock continues the interplay of light and dark throughout the film: Guy's bright, light tennis attire, versus "the gothic gloominess of [Bruno's] Arlington mansion. 45] the crosscutting between his game in the sunshine at Forest Hills while Bruno's arm stretches into the dark and debris of the storm drain trying to fish out the cigarette lighter; 53] even a single image where "Walker is photographed in one visually stunning shot as a malignant stain on the purity of the white-marble Jefferson Memorial, as a blot on the order of things. 54] Political subtext [ edit] Although its first rumblings came in 1947 with the trial and conviction of the "Hollywood Ten" the so-called Red Scare was gathering steam in 1950, with the espionage-related arrests of Julius and Ethel Rosenberg and the trial of Alger Hiss. These events were the background to their work, while Hitchcock, Cook, Ormonde and Keon were preparing the script for Strangers, and film scholar Robert L. Carringer has written of a political subtext to the film. [12] Treatment writer Cook used Guy to make the film "a parable quietly defiant of the Cold War hysteria sweeping America. 12] That hysteria was targeting homosexuals along with Communists as enemies of the state. The U. Senate was busy investigating the suspicion that 'moral perverts' in the government were also undermining national security — going so far as to commission a study, Employment of Homosexuals and Other Sex Perverts in Government. [19] Carringer has argued that the film was crucially shaped by the Congressional inquiries, making Guy the stand-in for victims of the homophobic climate. [19] To all appearances Guy is the all-American stereotype, an athlete, unassuming despite his fame, conservatively dressed" wrote Carringer; he is "a man of indeterminate sexual identity found in circumstances making him vulnerable to being compromised. 19] Hitchcock, who had drawn gay characters so sharply yet subtly in Rope in 1948, drafted the left-leaning Cook. expressly because he was comfortable with sexually ambiguous characters. 12] Differences from the novel [ edit] Even before sewing up the rights for the novel, Hitchcock's mind was whirling with ideas about how to adapt it for the screen. He narrowed the geographic scope to the Northeast corridor, between Washington, D. and New York — the novel ranged through the southwest and Florida, among other locales. [19] The scripting team added the tennis match — and the crosscutting with Bruno's storm drain travails in Metcalf — added the cigarette lighter, the Tunnel of Love, Miriam's eyeglasses; in fact, the amusement park is only a brief setting in the novel. [19] Hitchcock's biggest changes were in his two lead characters: The character called Bruno Antony in the film is called Charles Anthony Bruno in the book. [55] Highsmith's Bruno is a physically repugnant alcoholic. but in [Whitfield Cook's] hands, the film's Bruno became a dandy, a mama's boy who speaks French, and who professes ignorance of women. 12] In the book, Bruno dies in a boating accident [55] far removed from a merry-go-round. In the novel, Guy Haines is not a tennis player, but rather a promising architect, and he does indeed go through with the murder of Bruno's father. [55] In the movie, Guy became a decent guy who refuses to carry out his part of the crazed bargain. writes Patrick McGilligan, to head off the censors. 12] In the novel, Guy is pursued and entrapped by a tenacious detective. [15] The merry-go-round scene is not in the book, but is taken from the climax of Edmund Crispin 's 1946 novel The Moving Toyshop. [56] All the major elements of the scene — the two men struggling, the accidentally shot attendant, the out-of-control merry-go-round, the crawling under the moving merry-go-round to disable it — are present in Crispin's account, 57] though he received no screen credit for it. In Raymond Chandler's second draft script — which Hitchcock ceremoniously dropped into the wastebasket while daintily holding his nose — the final shot is Guy Haines, institutionalized, bound in a straitjacket. [17] Reception [ edit] Critical reaction [ edit] Upon its release in 1951, Strangers on a Train received mixed reviews. Variety praised it, writing: Performance-wise, the cast comes through strongly. Granger is excellent as the harassed young man innocently involved in murder. Roman's role as a nice, understanding girl is a switch for her, and she makes it warmly effective. Walker's role has extreme color, and he projects it deftly. 58] Conversely, Bosley Crowther of The New York Times criticized the film: Mr. Hitchcock again is tossing a crazy murder story in the air and trying to con us into thinking that it will stand up without support. Perhaps there will be those in the audience who will likewise be terrified by the villain's darkly menacing warnings and by Mr. Hitchcock's sleekly melodramatic tricks. But, for all that, his basic premise of fear fired by menace is so thin and so utterly unconvincing that the story just does not stand. 59] Leslie Halliwell felt that Hitchcock was "at his best" and that the film "makes superior suspense entertainment. but called the story "unsatisfactory. 60] More recent criticism is generally, though not universally, more positive. The film holds a 98% rating on Rotten Tomatoes, and Roger Ebert has called Strangers on a Train a "first-rate thriller" that he considers one of Hitchcock's five best films. [5] David Keyes, writing at in 2002, saw the film as a seminal entry in its genre: Aside from its very evident approach as a crowd-pleasing popcorn flick, the movie is one of the original shells for identity-inspired mystery thrillers, in which natural human behavior is the driving force behind the true macabre rather than supernatural elements. Even classic endeavors like Fargo and A Simple Plan seem directly fueled by this concept. 61] Almar Haflidason was effusive about Strangers on a Train in 2001 at the BBC website: Hitchcock's favourite device of an ordinary man caught in an ever-tightening web of fear plunges Guy into one of the director's most fiendishly effective movies. Ordinary Washington locations become sinister hunting grounds that mirror perfectly the creeping terror that slowly consumes Guy, as the lethally smooth Bruno relentlessly pursues him to a frenzied climax. Fast, exciting, and woven with wicked style, this is one of Hitchcock's most efficient and ruthlessly delicious thrillers. 62] Patricia Highsmith 's opinion of the film varied over time. She initially praised it, writing: I am pleased in general. Especially with Bruno, who held the movie together as he did the book. Later in life, while still praising Robert Walker's performance as Bruno, she criticized the casting of Ruth Roman as Anne, Hitchcock's decision to turn Guy from an architect into a tennis player, and the fact that Guy does not murder Bruno's father as he does in the novel. [63] 64] Box office [ edit] According to Warner Bros' records, the film earned 1, 788, 000 domestically and 1, 144, 000 in foreign territories. [1] Accolades [ edit] Award Category Subject Result Academy Award Best Cinematography Robert Burks Nominated Directors Guild of America Award Outstanding Directing – Feature Film Alfred Hitchcock National Board of Review Award Best Film [65] American Film Institute listed the film as #32 in AFI's 100 Years. 100 Thrills. Alternate versions [ edit] An early preview edit of the film, sometimes labeled the "British" version although it was never released in Britain or anywhere else, includes some scenes either not in, or else different from, the film as released. [66] According to biographer Charlotte Chandler (Lyn Erhard) Hitchcock himself did not like either the "British" or the "American" version: Hitchcock told [Chandler] that the picture should have ended with Guy at the amusement park after he has been cleared of murdering his wife. He wanted the last line of the film to be Guy describing Bruno as "a very clever fellow. This ending, however, was not acceptable to Warner Bros. [27] In 1997, Warner released the film onto DVD as a double sided disc, with the "British" version on one side, and the "Hollywood" version on the reverse. Between the two versions of the film, the "British" version most prominently omits the final scene on the train. [66] A two-disc DVD edition was released in 2004 containing both versions of the film, this time with the "British" version entitled "Preview Version" and the "Hollywood" version entitled "Final Release Version. The film was later made available on Blu-ray in 2012 with the same contents as the 2004 DVD edition. [67] Legacy [ edit] Strangers on a Train was adapted for the radio program Lux Radio Theatre on two occasions: on December 3, 1951, with Ruth Roman, Frank Lovejoy, and Ray Milland, and on April 12, 1954, with Virginia Mayo, Dana Andrews, and Robert Cummings. [43] In 2015, it was announced that director David Fincher and writer Gillian Flynn are working on a remake for Hitchcock's film, retitled as Strangers, which is said to be a "modern take" on the story. [68] BBC Radio 4's Afternoon Play broadcast on 29 September 2011 was Strangers on a Film by Stephen Wyatt, which gives an imagined account of a series of meetings between Hitchcock ( Clive Swift) and Raymond Chandler ( Patrick Stewart) as they unsuccessfully attempt to create the screenplay for Strangers on a Train. The film has also been the inspiration for other book, film or television projects with similar themes of criss-cross murder, often treated comically. They include: An episode, One False Step" of the TV series 77 Sunset Strip in 1958; Bones episode "The Bodies in the Book" Breaking the Girls, a 2012 thriller directed by Jamie Babbit; The Double Down" an episode of Castle, an American television program, 69] the investigation being further complicated as the four investigators are competing against each other to solve the two separate cases; A Night at the Movies" and "Tell-Tale Hearts" episodes of CSI: Crime Scene Investigation, an American television program. Double Cross, a US 2006 made for television film; Perfect Strangers" a 1997 episode of Due South, a Canadian television program; A 2015 storyline in British TV soap Emmerdale; Horrible Bosses, a 2011 comedy film [70] The episode "Bedfellows" in season 6 of Law & Order: Criminal Intent; Strangers on a Treadmill" a 2010 episode (season 2, episode 4) of US sitcom Modern Family [71] Muran, a 2011 Indian Tamil film [72] Episode 12 of season 7 of the Canadian murder-mystery series Murdoch Mysteries, titled "Unfinished Business" NCIS episode "The Inside Man" Once You Meet a Stranger, a 1996 made for television film remake; Dream Job" an episode of Peep Show, a British TV series starring Mitchell and Webb; A two part episode "Covenant" of series 20 of Silent Witness, first aired on BBC TV in January 2017; Dial "M" for Murder or Press. to Return to Main Menu" part of The Simpsons " Treehouse of Horror XX " in 2009; Soch, a 2002 Indian film; Strangers, a 2007 Indian film; Strangers in Death" novel) by J. D. Robb; Sweet Revenge, a 1998 film Throw Momma from the Train, a 1987 comedy film [73] Vishaka Express, a 2008 Indian Telugu film. Do Qatil Ki Paheli, an episode from CID (Indian TV series) Season 2 of Unforgotten, a British detective series, which features a three-way murder swap. "Strangers on a Train" a 2012 sketch in BBC Radio 4's 'John Finnemore's Souvenir Programme' Season 2, Episode 3. See also [ edit] Influence on Carol Burnett's Star on Hollywood Walk of Fame References [ edit] a b c Warner Bros financial information in The William Shaefer Ledger. See Appendix 1, Historical Journal of Film, Radio and Television, 1995) 15:sup1, 1-31 p 31 DOI: 10. 1080/01439689508604551 ^ Louis Lettieri - IMDB. ^ a b c d e Ebert 2006, p. 428. ^ a b Truffaut, François (1967. Hitchcock By Truffaut. New York: Simon and Schuster. ISBN   978-0-671-60429-5 ^ a b Ebert, Roger (January 1, 2004. Strangers on a Train movie review... ^ a b c Spoto 1983, p. 345. ^ McGillian 2006, p. 450. ^ a b c d Spoto 1983, p. 346. ^ Strangers on a Train: The Victim's P. O. V. (2004) DVD documentary ^ Spoto 1983, p. 341. ^ a b c d e Spoto 1983, p. 342. ^ a b c d e f McGilligan 2004, p. 442. ^ a b McGilligan 2004, p. 444. ^ Krohn, Bill. I Confess – Historical Note. Senses of Cinema. ^ a b c d e Spoto 1983, p. 344. ^ a b McGilligan 2004, p. 447. ^ a b c d e McGilligan 2004, p. 449. ^ Chandler 2006, p. 192. ^ a b c d e f McGilligan 2004, p. 443. ^ a b c d e Spoto 1983, p. 347. ^ a b c d e f McGilligan 2004, p. 450. ^ a b c McGilligan 2004, p. 452. ^ Spoto 1983, p. 343. ^ Spoto 1983, pp. 339–40. ^ a b c d e Spoto 1983, p. 353. ^ Chandler 2004, pp. 201–02. ^ a b c d Chandler 2006, p. 197. ^ a b Spoto 1983, p. 352. ^ a b Chandler 2006, p. 198. ^ McGillligan 2004, p. 242. ^ Ebert 2006, p. 429. ^ Spoto 1983, p. 348. ^ Chandler 2006, p. 66. ^ Chandler 2004, p. 194. ^ a b c d McGilligan 2004, p. 453. ^ a b c Sullivan 2006, p. 157. ^ Sullivan 2006, p. 156. ^ Sullivan 2006, p. 159. ^ a b Sullivan 2006, p. 162. ^ Chandler 2006, p. 203. ^ Warner Bros. press release #HO9-1251, November 30, 1950 ^ a b c Chandler 2006, p. 202. ^ a b c d e Spoto 1983, p. 354. ^ a b Dellolio, Peter (2004. Hitchcock and Kafka: Expressionist Themes in Strangers on a Train. Midwest Quarterly (45. 3) 240–55. ^ a b c d e Spoto 1983, p. 349. ^ Spoto 1983, p. 350. ^ a b c d Wood 2004, p. 172. ^ Wood 2004. ^ Wood 2004, pp. 172–73. ^ Wood 2004, p. 173. ^ Ebert 2006, p. 430. ^ a b Wood 2004, p. 175. ^ Wood 2004, p. 180. ^ Spoto 1983, pp. 349–50. ^ a b c Highsmith, Patricia (2001. Strangers on a Train. New York: W. W. Norton and Co. (2001) ISBN   978-0-393-32198-2 ^ Swanson, Peter (February 17, 2012. Armchair Audience: The Moving Toyshop (1946. Retrieved May 25, 2013. ^ Crispin, Edmund (2007) 1946. The Moving Toyshop. Vintage. pp. 195–200. ISBN   9780099506225. ^ Strangers on a Train. Variety. 1951. ^ Crowther, Bosley (July 4, 1951. The Screen In Review; Strangers on a Train. Another Hitchcock Venture, Arrives at the Warner Theatre. The New York Times. ^ Halliwell, Leslie, with John Walker, ed. (1994. Halliwell's Film Guide. New York: Harper Perennial. ISBN   0-06-273241-2. p. 1139 ^ Keyes, David (2002. Strangers on a Train. Retrieved May 21, 2013. ^ Haflidason, Almar (June 25, 2001. Strangers on a Train (1951. Retrieved May 21, 2013. ^ Schenkar, Joan (2009. The Talented Miss Highsmith: The Secret Life and Serious Art of Patricia Highsmith. New York: St. Martin's Press. pp. 318–19. ISBN   978-0-312-30375-4. ^ Patricia Highsmith (Spring 1988. Interview with Patricia Highsmith. Sight & Sound (Interview. 75 (2. Interviewed by Gerald Peary. pp. 104–5 – via ^ Strangers on a Train > Awards. Allmovie. Retrieved January 8, 2010. ^ a b Desowitz, Bill (November 17, 1996. Same Strangers, Different 'Train. Los Angeles Times. Archived from the original on March 5, 2016. Retrieved September 16, 2017. ^ Kauffman, Jeffrey (October 6, 2012. Strangers on a Train Blu-ray Review. Retrieved October 8, 2012. ^ Ford, Rebecca (January 13, 2015. David Fincher, Ben Affleck, Gillian Flynn Reuniting for 'Strangers on a Train' Remake. The Hollywood Reporter. Retrieved February 23, 2019. ^ Allen, Conception (November 12, 2010. On the set with 'Castle. Retrieved May 21, 2013. ^ Chang, Justin (2011) Horrible Bosses. Variety, July 5, 2011 ^ Donna Bowman (October 13, 2010. Modern Family: Strangers on a Treadmill. The A. Club. Retrieved October 14, 2010. ^ Mannath, Malini (October 5, 2011. Muran. The New Indian Express. Retrieved January 4, 2012. ^ Maslin, Janet (1987. Throw Momma. The New York Times, December 11, 1987 Bibliography [ edit] Further reading [ edit] Hare, Bill. Strangers on a Train: Hitchcock's Rich Imagery Reigning Supreme" on Noir of the Week, April 20, 2008. Schneider, Dan. Strangers On A Train - DVD" on. External links [ edit] Strangers on a Train on IMDb Strangers on a Train at AllMovie Strangers on a Train at Rotten Tomatoes Strangers on a Train at the TCM Movie Database Strangers on a Train at the American Film Institute Catalog Strangers on a Train on Lux Radio Theater: April 12, 1954.

Your account has no avatar To proceed with comment posting, please select temporary avatar: Confirm Something went wrong, please try again. Or Upload on Y8 Account Cancel. A very well produced and directed short-film with excellent actors. Hails back to when films told a simple story beautifully. In every scene not a moment is wasted. Markou is a director to watch especially skilled in realistic, kitchen-sink drama. His debut 'Papadopoulos & Sons' is a wonderful little film. If you like a 'comic-book-cgi' this is not the film for you - however if you value Quality and a good story you will love and appreciate this little gem of a film.

 

 

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