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Nicholas Christopher, Somewhere in the Night (1997) While many critics refer to film noir as a genre itself, others argue that it can be no such thing. Foster Hirsch defines a genre as determined by "conventions of narrative structure, characterization, theme, and visual design." Hirsch, as one who has taken the position that film noir is a genre, argues that these elements are present "in ...
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Expressionism is a modernist movement, initially in poetry...
- Robert Siodmak
Early life. Siodmak was born in Dresden, Germany, the son of...
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Stranger on the Third Floor is a 1940 American film noir...
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The Big Combo is a 1955 American crime film noir directed by...
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Film noir is not a clearly defined genre (see here for details on the characteristics). Therefore, the composition of this list may be controversial. To minimize dispute the films included here should preferably feature a footnote linking to a reliable, published source which states that the mentioned film is considered to be a film noir by an expert in this field, e.g.
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- Plot
- Cast
- Production
- Themes and Motifs
- Reception
- Alternative Versions
- Legacy
- Further Reading
- External Links
Amateur tennis star Guy Haines wants to divorce his promiscuous wife Miriam so he can marry Anne Morton, the daughter of a US Senator. On a train, wealthy smooth-talking psychopath Bruno Antony recognizes Haines and reveals his idea for a murder scheme: two strangers meet and "swap murders" — Bruno suggests he kill Miriam and Guy kill Bruno's hated...
Pre-production
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.Highsmith was quite annoyed when she later discovered who bought the rights for such a small amount. 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,...
Production
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.Exteriors would be shot on both coasts, and interiors on Warner Brothers' soundstages. Hitchcock and his cast and crew decampe...
Music
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"and "the Hitchcock films are not Tiomkin's best". 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...
The film includes a number of puns and visual metaphorsthat 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." The two characters, Guy and Bruno, can be viewed as doppelgängers. As wit...
Critical reception
Upon its release in 1951, Strangers on a Train received mixed reviews. Varietypraised 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." Conversely, Bosley Crowther of The New York Times criticized the film: "Mr. Hitchcock again is tossing a cra...
Box office
According to Warner Bros' records, the film earned $1,788,000 domestically and $1,144,000 in foreign territories.
Accolades
American Film Institute listed the film as #32 in AFI's 100 Years...100 Thrills.
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. According to biographer Charlotte Chandler (Lyn Erhard), Hitchcock himself did not like either the "British" orthe "American" version...
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. BBC Radio 4's Afternoon Play broadcast on 29 September 2011 was Strangers on a Film by Stephen Wyatt, which giv...
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 Culturevulture.net.Strangers on a Train at IMDbStrangers on a Train at AllMovieStrangers on a Train at the TCM Movie DatabaseStrangers on a Train at the American Film Institute Catalog- Alfred Hitchcock
- Dimitri Tiomkin
- June 30, 1951
genre. film noir, style of filmmaking characterized by such elements as cynical heroes, stark lighting effects, frequent use of flashbacks, intricate plots, and an underlying existentialist philosophy. The genre was prevalent mostly in American crime dramas of the post- World War II era.
- The Editors of Encyclopaedia Britannica
Dec 16, 2019 · Set in 1948 Los Angeles, the film marries traditional noir tropes—red herrings, plot twists, femme fatales— with themes of race and class as Rawlins and his partner Mouse (Don Cheadle) search ...
Film noir is a cinematic term used primarily to describe stylized Hollywood crime dramas, particularly those that emphasize cynical attitudes and motivations. The 1940s and 1950s are generally regarded as the "classic period" of American film noir. Film noir of this era is associated with a low-key, black-and-white visual style that has roots in German Expressionist cinematography. Many of the ...
Apr 29, 2024 · A Brief History of Film Noir. From 1944 through the late 1950s, movies like The Maltese Falcon (based on a novel by Dashiell Hammett), Laura (based on a novel by Vera Caspary), Murder, My Sweet (based on a novel by Raymond Chandler), and Double Indemnity (based on a novel by James M. Cain) were crime films that began to take the place of Westerns in Hollywood.