Strangers On A Train is actually quite familiar on Hitchcock’s world, a quirky brutal era that breathes for inanity.
Hitchcock’s another perfect plan for a perfect crime is wisely not a gut wrenching bloodbath but a poised and reserved act of trauma. And just like its opening sequence, Hitchcock has you hooked from the first footage and similar to it, the storytelling is fluent and gripping. The conversations are pragmatic and are brimmed with humor and ironic drama that is imputed smoothly without any compromise on the track. The concept is very amusing and yet convincing through brilliant execution, and has the potential to boost off the film for the entire feature. Hitchcock uses the props and creates an arc out of them like a character where the entire feature ends up hanging on it.
Wisely, the makers aren’t confined on delivering the rudimentary process of investigation along with the usual cat and mouse chase. Instead, the screenplay is quite fast paced and is always ready to evolve with a smarter script that keeps the audience on the brisk, with its gritty ideology and metaphorical cinematography that helps view this tale with a more brighter and clearer lens. The performance isn’t extraordinary or eye popping but as far as cynicism is concerned Walker’s body language does give you the chills.
And on the other hand the victim of the film, Granger unfortunately doesn’t have much range to factor in effectively especially since his character is basically a scaredy cat for the most part of it. This meticulous novel is adapted with smart editing and crispy cinematic sequences bubbled up (especially the followed up or the aftermath of the crime that is wound up in one big scene) from it that remains the highlight of it and stays with you even after you leave the screen. Strangers On A Train is actually quite familiar on Hitchcock’s world, a quirky brutal era that breathes for inanity.