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“Strangers on a Verbalize” is that rarity, an Alfred Hitchcock film concerning which one talks about an actor’s performance almost as mighty as the director’s. The actor, of course, is Robert Walker, presenting his much portrayal of Bruno Anthony, the rich, unstable man who offers the hero Guy Haines a deadly proposition: he’ll demolish Guy’s wife Miriam (played by the inspiring Laura Elliott) if Guy will slay Bruno’s father. Because they are strangers on a inform who do not know their intended victims, there will be no motives, therefore perfect alibis. Guy doesn’t assume Bruno seriously, which turns out to be a fatal mistake. Bruno is a complicated portion. Although he is obssessed with his bear superiority, he can be incredibly petty (popping a slight boy’s balloon impartial for the meanness of it), not to mention prissy (“I’m skittish I don’t know what a `smoocher’ is!”) . The character seems to overshadow the entire movie, which is appropriate, because Bruno casts a shadow over the easy, affluent world in which he lives. When he crashes the senator’s cocktail party, it’s like Satan has arrived, striding through polite society. And, no, Walker was not nominated for an Oscar. Neither was Joseph Cotten for “Shadow of a Doubt”. Neither was Anthony Perkins for “Psycho”. The Academy evidently had anguish with Hitchcock’s anti-heroes. Hitchcock originally wanted William Holden for the role of Guy Haines, but I reflect Holden was so savvy and macho, it would have been difficult to collect him as a psycopath’s pawn. Farley Granger is atheletic enough to be convincing as a tennis champ, but he has a boyishness which makes the vulnerable aspects of the character believable. The film is filled with the touches one associates with Hitchcock. Some are definite, like Miriam’s strangulation reflected in her eyeglasses. Others are more subtle: After the kill, Bruno approaches Guy outside Guy’s apartment house. At first Guy cannot sing who is calling his name in the dusky. Bruno is standing arrive a broad gate with wrought-iron bars; and, as Guy comes advance him, he steps unhurried the gate — in other words, he’s gradual bars. Then, after he has told Guy about Miriam’s death and Guy is appealing the shock, a police car pulls up in front of Guy’s apartment house and Guy himself ducks slow the gate. Now they’re BOTH slack bars. Hitchcock was a genius, no doubt about it.I wonder how many viewers have noticed the peculiar discrepency reach the extinguish. Bruno has stepped off the drawl at Metcalf, holding the incriminating cigarette lighter he hopes to plant on the amusement park island, thus framing Guy. A pedestrian brushes by him and the lighter falls into a storm drain in the street. Bruno, frantic, tries to enlist the abet of passersby. However, he says (not once but twice) “I dropped my cigarette CASE in the drain!” Walker, of course, was in the process of drinking himself to death; but the mistake could easily have been corrected with a exiguous dubbing. It’s bothered me for years why it wasn’t.Director of Photography Robert Burks began his long association with Hitchcock on this recount. He must have worked night and day to satisfy Hitchcock’s demands, but his loveliest execute is the amusement park’s neon lights against a lovely black-and-white sunset.The film’s mood is enhanced by Dimitri Tiomkin’s romantically mysterious obtain. It’s particularly striking in the movie’s”coda” when Guy is trying desperately to effect a tennis game (allegro) and Bruno is desperately trying to near that damn lighter (adagio) . Hitchcock and Tiomkin worked a couple of more times together but never more effectively than in thisdazzling masterpiece.
It’s principal to notice two things about this edition of “Strangers on a Screech.” First off, the description on Amazon.com’s page is wrong. This DVD is not in widescreen. The second thing is, to you widescreen buffs out there (including myself) — Relax! This film was never shot in widescreen. In fact, prior to 1953 (The Robe), there was never anything bigger than 35mm! This is why this film (and you’ll be surprised to hear), many, many classic films will never be produced in widescreen. They don’t exist. You should acquire this DVD because of the video quality and the extra “goodies.” Gone with the Wind in widescreen? Nope, never was, even though it was blown up to 70mm and cropped horribly in the 1968 re-issue. What’s out there on DVD on Gone with the Wind is standard 35mm “TV semi-square” framing, because that’s the device it was shot. Wizard of Oz, Casablanca, Citizen Kane? Nope, never shot in anything greater than 35mm. It’s a Astounding Life? No again. Widescreen is dinky to theatrical films issued for the most share, after 1953, when competition with television forced studios to approach up with the “panoramic” gimmicks to bring people wait on into the theaters. This is period (1953-1963) when Cinemascope, Todd-AO, VistaVision, Well-kept Panavision 70 and other widescreen formats were born — and the most shameful example was Cinerama, which ragged three cameras and is veteran to best attain in the DVD version of How the West Was Won. So don’t fret, this DVD is profitable, crisp and super and formatted as Alfred Hitchcock intended! Tomorrow’s movies will be in IMAX (peruse Fantasia 2000, in selected theaters now) .
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