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“Strangers on a Direct” is that rarity, an Alfred Hitchcock film concerning which one talks about an actor’s performance almost as grand as the director’s. The actor, of course, is Robert Walker, presenting his great portrayal of Bruno Anthony, the rich, unstable man who offers the hero Guy Haines a deadly proposition: he’ll raze Guy’s wife Miriam (played by the curious Laura Elliott) if Guy will slay Bruno’s father. Because they are strangers on a insist who do not know their intended victims, there will be no motives, therefore perfect alibis. Guy doesn’t acquire Bruno seriously, which turns out to be a fatal mistake. Bruno is a complicated fraction. Although he is obssessed with his contain superiority, he can be incredibly petty (popping a exiguous boy’s balloon honest for the meanness of it), not to mention prissy (”I’m frightened 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 trouble with Hitchcock’s anti-heroes. Hitchcock originally wanted William Holden for the role of Guy Haines, but I assume Holden was so savvy and macho, it would have been difficult to pick up 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 execute, Bruno approaches Guy outside Guy’s apartment house. At first Guy cannot dispute who is calling his name in the black. Bruno is standing arrive a big gate with wrought-iron bars; and, as Guy comes advance him, he steps slow the gate — in other words, he’s leisurely bars. Then, after he has told Guy about Miriam’s death and Guy is involving 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 slow bars. Hitchcock was a genius, no doubt about it.I wonder how many viewers have noticed the outlandish discrepency advance the kill. Bruno has stepped off the assert 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 encourage 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 report. He must have worked night and day to satisfy Hitchcock’s demands, but his loveliest attain is the amusement park’s neon lights against a dazzling black-and-white sunset.The film’s mood is enhanced by Dimitri Tiomkin’s romantically mysterious catch. It’s particularly striking in the movie’s”coda” when Guy is trying desperately to execute a tennis game (allegro) and Bruno is desperately trying to advance that damn lighter (adagio) . Hitchcock and Tiomkin worked a couple of more times together but never more effectively than in thisdazzling masterpiece.

It’s distinguished to heed two things about this edition of “Strangers on a Protest.” First off, the description on Amazon.com’s page is erroneous. 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 win 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 Unbelievable Life? No again. Widescreen is cramped to theatrical films issued for the most piece, after 1953, when competition with television forced studios to near up with the “panoramic” gimmicks to bring people help into the theaters. This is period (1953-1963) when Cinemascope, Todd-AO, VistaVision, Spruce Panavision 70 and other widescreen formats were born — and the most crude example was Cinerama, which ragged three cameras and is old to best enact in the DVD version of How the West Was Won. So don’t fret, this DVD is proper, crisp and spruce and formatted as Alfred Hitchcock intended! Tomorrow’s movies will be in IMAX (seek Fantasia 2000, in selected theaters now) .
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