Strangers on a Train1951

Strangers on a Train is not a psychological study, however, but a first-rate thriller with odd little kinks now and then. It proceeds, as Hitchcock's films so often do, with a sense of private scores being settled just out of sight.

蓝光重刷。勉强及格。不知是不是第一部用了交换杀人点子的电影，这部的主要看点还是希区柯克的卖萌了：两次出现在眼镜上的反光（这种用镜面映射凶杀意念的手法本身是对电影虚假、游戏性的呈现）、网球观众里不合拍的怪客，终于发展到最后的失控旋转木马大战（还有个小孩帮男主打怪客笑死我了）。本片主要问题还是象征性损害了叙事功能性，双男主其实是从浪荡老婆的失败婚姻中摆脱并重建夫权的一个，战胜了有恋母情结要摆脱父权的一个，但电影花了太多笔墨表现男主情人一家对男主夫权的支持（二女儿算是客观上有点背离），这导致男主的境遇比希区柯克电影里典型的无辜蒙难者的状况要随顺很多，他在嫌疑中是游刃有余的，不构成真正的紧迫感，另外制作上比较偏重市场，用了太多提示性镜头早早言明剧情走向，比如怪客杀人时那位目击者，看得没劲

Strangers on a Train ranks at the top of Hitchcock's most accomplished works, a masterpiece that is so carefully constructed and its characters so well developed that the viewer is quickly intimate and comfortable with the story long before Bruno turns killer.