Alfred Hitchcock’s Murder on a Train.

Strangers on a Train.

In 1951 this low budget thriller directed by Alfred Hitchcock is yet again another example of the intense presence he stamps upon his films.

As can be expected this film out of the many great Hitchcock films shows a variety of synopsis under these circumstances the Warner Bros film is showing Diegesis of Robert Walker’s character (Bruno) and again how revisiting old ground can affect with a change in the Non-diegetic elements orchestrating a somewhat light hearted view of murder, encroached with weird wonderful feminine twists from the support of murderer by the mothers naivety and his fathers control of the house suggesting an innocence again.

This moving image (Mise-en-scene) of the merry-go-round or the train to proximity of the opening scene’s of fixating on the shoes and the ground all equally describe binary opposites which merely re-iterates the effectiveness of Strangers on a Train successfully by example explain the Media totality and any binary oppositions present in the terminology required by even the smallest member of ‘Media’s vast spectrum’.

Like most of Hitchcock’s thrillers we find him making appearances here there and everywhere in this example he crops up boarding the train in the first 20 minutes of the movie but more importantly his talented direction is displayed through camera angles (crooked) for Bruno and lighted alongside the shutters denoting some behind bars illusion even though we can safely assume the character is of an upper-class origin, his weasel ways are always made acceptable through his desire for thrills and his copious tolerance of cigarettes and alcohol, the murder is what the genre is and Alfred through his magical affect’s on screen co-ordinates this illusion throughout enough as to keep the watcher interested enough to move around the edge of there seat as indeed in my opinion most thrillers should do.

These binary similarities of Culture and Economy light heartedly deliver a humorous in-detail display of emotive rationality to the rationality of origins, although conflictingly the beginning seems to race into this idea that the innocent invoke the madness of others through the skull-duggery of real life commitments like marriage and dating the Senators daughter to the Media writing about those who desire goals, winners! This epoch throughout the film continues through the characters taking a shine to Bruno his cheap charm and fancy spats works every time but your always left with some humour of how low a murderer stoops.

However in the public eye these high brow issues of course would be thought of quite differently and remember coming away from the illusive settings of Washington and it’s modern monsters of stone we feel separate from the world in the 50’s post war would have gained hope from seeing locations although not yet attainable by most the topic is reinforced in Bruno’s speech about flying in a jet and clearing out the sawdust to even dreaming of being the first to fly to the moon, that’s later used to impress the Senator- (Leo G Carroll)-Morton in a tall story of being great to here footprints happening on the surface of Mars!

Without these notions of equality Producing Media products in Hollywood to sell around the world.

Globalisation of a product that may be translated in many different ways is always tied into this genre.

Provided unusually by a director, a director is in the control of his tools; the actors, the cameramen and of course the control of natures weather, suggested by the many shots of the moon.

Why well particularly in regard to textual analysis and this idea of dissolving two scenes together as a passing of time chronologically we feel sequentially to be in the here and now and this effective illusion again displays the mastery of directorship, normally we’d feel attracted to the actors.

Their names and reputation but look closely again at this film it’s great how binary opposites and popping of balloons seems to add a humorous disdain sided toward building upon a conclusion.

The old man crawls below the Merry-go-round to dismantle the already broken switch in his attempt to save two young boys racing round and round.

The two main characters battle it out under the hooves of a mannequin horses hoof.

The crooked camera shots begin to level out between the two main characters merely adding to the expectation of this wooden hoof crushing the face of our innocent hero who all he did was to play tennis well and realise something’s are best not mentioned to the cops or even the ones you love.

There are many other ways of studying this film, I thought the mis en scene was a challenge but there you go, its an interesting film.

Leave a Reply

Please log in using one of these methods to post your comment:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s