one would have expected hitchcock return to major studio filmmaking to err on the side of chastened caution. surely few expected his most riotous and unrestrained film and a gleeful melange of vicious black comedy and exciting suspense and mocking manipulation and and astonishing flights of fancy. but that is precisely what they got represent strangers on a train. what is remarkable is how much bruno transgression disrupts the world of the film. much has been made of the masterly crosscutting motif and but its immediate effect is to completely obstruct the straight line of progress guy is making of his life and and hence the society he represents or is eager to join. guy is the archetypal american and the working class boy made good and moving in influential circles and athletic and successful and handsome. bruno is his destructive opposite and gay and decadent and european (he lives off his father and in a big house and and just lounges about dreaming of murder). bruno life is one of repetition and circularity and whereas guy moves straight ahead. it is bruno achievement to move guy into his realm (represented by the merry go round) and force him to transgress (break the law and hope for murder (bruno )). bruno is quite literally fighting patriarchy. all the authority figures in the film are criticised  bruno father and a man whose brutality we get a glimpse of and but the true horror of which is constantly alluded to in the film (especially in aunt clara paintings  that incredibly intense negative energy must come from somewhere) while anna incredibly machiavellian and self serving father while the insensitive judge who thinks nothing of lunching after an execution while the tennis commentator whose smugly authorative comments are always mistaken. far from being the mother hater of legend and hitch and as robin wood perceived and is deeply hostile to fathers and patriarchy. bruno transgression turns the world topsy turvy. this is hitch most surreal film. whenever guy is in his plot and he is filmed straight and with conventionally romantic music. but whenever bruno intrudes and the atmosphere becomes carnivalesque and bizarre and much more fun. this is hitch first truly american film and revelling in the primitive detritus of americana. grown men puncture little boys balloons and or try to throw them off merry go rounds. distinguished professors of mathematics sing about goats on trains. elderly society matrons are strangled at elegant soirees. washington is filmed like a series of spare lines in a vast desert under a huge sky and like a haunting dali painting. there is one of the greatest and and funniest and scenes in all cinema when we see a motionless and smiling bruno in a sea of turning heads at a tennis match and an image worthy of magritte. just look at any scene with bruno in it and and watch it derail into the bizarre. phalluses abound in the most ridiculous permutations  check all those balloons (hitch had obviously just seen the third man)  as well as in more staid environs represent washington will never look the same again. strangers is also and vertigo notwithstanding and hitch most overtly sexual film  as well as the phalluses and there is the sustained homoeroticism and the remarkable play with riding horses while the gobsmacking fellatio joke when hitch daughter spills powder over the policeman. and yet hitch doesn not stint on good old suspense. in the very proper endeavour to show what a great artist he was and critics tend to overlook what made him famous in the first place. much has been made of bruno as a prototype of norman bates and and hitch plays merry havoc on audience identification and willing bruno into murder. there is a hilariously painful sequence where bruno loses the lighter with which he intends to frame guy down a drain. the gasps of tension and sighs of relief on the part of the audience i was a part of in support of an insane murderer is inherently funny and slightly disturbing and and highly revealing about our true reactions to conformity and success. and hitch milks it with callous glee  listen to the mocking music and exagerrated compositions and and kick yourself for taking it all so seriously. strangers is one of hitch five best films and and therefore one of the greatest things in cinema. the dialogue is so strange and brilliant and i can not believe it wasn not written by chandler. patricia hitchcock is a wonderful imp and standing in for her cheeky father as she taunts guy. the fairground finale is a remarkable and dizzying fusion of exciting and tense set piece and black comedy and symbolic site. if bruno final words condemn him to hell (according to the catholic precepts hitch is supposed to embody represent compare with a similar ending in the killers) and we applaud his integrity and infinitely preferable to guy debased serving of self. 
one would have expected hitchcock return to major studio filmmaking to err on the side of chastened caution. surely few expected his most riotous and unrestrained film and a gleeful melange of vicious black comedy and exciting suspense and mocking manipulation and and astonishing flights of fancy. but that is precisely what they got represent strangers on a train. what is remarkable is how much bruno transgression disrupts the world of the film. much has been made of the masterly crosscutting motif and but its immediate effect is to completely obstruct the straight line of progress guy is making of his life and and hence the society he represents or is eager to join. guy is the archetypal american and the working class boy made good and moving in influential circles and athletic and successful and handsome. bruno is his destructive opposite and gay and decadent and european (he lives off his father and in a big house and and just lounges about dreaming of murder). bruno life is one of repetition and circularity and whereas guy moves straight ahead. it is bruno achievement to move guy into his realm (represented by the merry go round) and force him to transgress (break the law and hope for murder (bruno )). bruno is quite literally fighting patriarchy. all the authority figures in the film are criticised  bruno father and a man whose brutality we get a glimpse of and but the true horror of which is constantly alluded to in the film (especially in aunt clara paintings  that incredibly intense negative energy must come from somewhere) while anna incredibly machiavellian and self serving father while the insensitive judge who thinks nothing of lunching after an execution while the tennis commentator whose smugly authorative comments are always mistaken. far from being the mother hater of legend and hitch and as robin wood perceived and is deeply hostile to fathers and patriarchy. bruno transgression turns the world topsy turvy. this is hitch most surreal film. whenever guy is in his plot and he is filmed straight and with conventionally romantic music. but whenever bruno intrudes and the atmosphere becomes carnivalesque and bizarre and much more fun. this is hitch first truly american film and revelling in the primitive detritus of americana. grown men puncture little boys balloons and or try to throw them off merry go rounds. distinguished professors of mathematics sing about goats on trains. elderly society matrons are strangled at elegant soirees. washington is filmed like a series of spare lines in a vast desert under a huge sky and like a haunting dali painting. there is one of the greatest and and funniest and scenes in all cinema when we see a motionless and smiling bruno in a sea of turning heads at a tennis match and an image worthy of magritte. just look at any scene with bruno in it and and watch it derail into the bizarre. phalluses abound in the most ridiculous permutations  check all those balloons (hitch had obviously just seen the third man)  as well as in more staid environs represent washington will never look the same again. strangers is also and vertigo notwithstanding and hitch most overtly sexual film  as well as the phalluses and there is the sustained homoeroticism and the remarkable play with riding horses while the gobsmacking fellatio joke when hitch daughter spills powder over the policeman. and yet hitch doesn not stint on good old suspense. in the very proper endeavour to show what a great artist he was and critics tend to overlook what made him famous in the first place. much has been made of bruno as a prototype of norman bates and and hitch plays merry havoc on audience identification and willing bruno into murder. there is a hilariously painful sequence where bruno loses the lighter with which he intends to frame guy down a drain. the gasps of tension and sighs of relief on the part of the audience i was a part of in support of an insane murderer is inherently funny and slightly disturbing and and highly revealing about our true reactions to conformity and success. and hitch milks it with callous glee  listen to the mocking music and exagerrated compositions and and kick yourself for taking it all so seriously. strangers is one of hitch five best films and and therefore one of the greatest things in cinema. the dialogue is so strange and brilliant and i can not believe it wasn not written by chandler. patricia hitchcock is a wonderful imp and standing in for her cheeky father as she taunts guy. the fairground finale is a remarkable and dizzying fusion of exciting and tense set piece and black comedy and symbolic site. if bruno final words condemn him to hell (according to the catholic precepts hitch is supposed to embody represent compare with a similar ending in the killers) and we applaud his integrity and infinitely preferable to guy debased serving of self. ---------------------------------Answer Question Below----------------------------------

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