Strangers On A Train Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Amateur tennis star Guy Haines (Farley Granger) wants to divorce his vulgar, promiscuous wife Miriam (Laura Elliott) so he can marry the elegant Anne Morton (Ruth Roman), the daughter of a US Senator. On a train, Haines meets a psychopath, Bruno Antony (Robert Walker), who recognizes Guy from newspaper photographs. Bruno tells Guy about his idea for the perfect murder scheme: the two should "swap murders"—Bruno will kill Miriam and Guy will kill Bruno's hated father. Each will kill a total stranger with no identifiable motive, so neither will be suspected. Guy humors Bruno by pretending to find his idea amusing, but Bruno mistakes Guy's response as agreement to the scheme. Eager to get away from Bruno, Guy leaves his monogrammed cigarette lighter on the train, and Bruno keeps it.

Guy meets with Miriam, who is pregnant by someone else, at her workplace in Metcalf, their hometown. Miriam informs Guy that she no longer wants to end their marriage, and threatens to blackmail him by claiming that the baby is his to thwart any divorce. After they argue loudly in front of Miriam's co-workers, Guy calls Anne and, speaking figuratively, says he would like to kill Miriam. Later, Bruno follows Miriam to an amusement park and strangles her to death while Guy is on a train. When Guy arrives home, Bruno informs him Miriam is dead and insists he honor their deal by killing Bruno's father.

Guy goes to the Mortons' Washington, D.C. home, where Anne's father, Senator Morton (Leo G. Carroll), informs Guy that his wife has been murdered. Guy feigns ignorance, but Anne's sister Barbara (Patricia Hitchcock) half-jokingly says that the police will think that Guy is the murderer. The police question Guy, but are unable to confirm his alibi: a professor (John Brown) Guy claims he met on the train was so drunk that he cannot remember their encounter. After examining train schedules, the police determine that Guy had time to commit the murder and complete his trip on another train. Instead of arresting Guy, the police assign an escort to ensure that he does not flee while they investigate.

To pressure Guy, Bruno introduces himself to Anne, then appears at a party at Senator Morton's house. To amuse another guest (Norma Varden), Bruno demonstrates how to strangle someone by playfully putting his hands around her neck. His gaze falls upon Barbara, who physically resembles Miriam and wears similar glasses. This triggers a flashback and he actually starts to strangle the woman before blacking out. Her suspicions aroused, Anne confronts Guy, who tells her the truth about Bruno's crazy scheme.

Bruno sends Guy a pistol, a house key and a map showing the location of his father's bedroom. Guy pretends to agree to Bruno's plan. He creeps into Bruno's father's room hoping to warn him of his son's murderous intentions, but instead he finds Bruno there waiting for him. He tells Guy he became suspicious when he suddenly agreed to honor their bargain and made sure his father was away. Guy tries to persuade Bruno to seek psychiatric help; Bruno threatens to punish Guy for betraying him.

Anne visits Bruno's house and unsuccessfully tries to explain to his befuddled mother (Marion Lorne) that her son is a murderer. Bruno mentions Guy's missing cigarette lighter to Anne; Guy rightly surmises Bruno intends to incriminate him by planting it at the site of Miriam's murder. Anne and Guy devise a plan for Guy to finish his tennis match quickly, evade his police escort, and prevent Bruno from planting the lighter. Guy eventually wins the long match at Forest Hills, and after eluding the police, heads for the amusement park.

Bruno is delayed when he accidentally drops Guy's lighter down a storm drain and must retrieve it. Guy arrives at the amusement park, but Bruno stays out of sight until nightfall so he can plant the lighter. A worker recognizes Bruno from the night of the murder and informs the police. Guy catches up to Bruno and they fight on the park's carousel. Thinking Guy is trying to escape, a police officer shoots at him, but misses and kills the carousel operator, causing the carousel to spin out of control. Eventually a carnival worker crawls under the fast-moving carousel and stops it, causing it to crash and mortally injure Bruno. The worker who recognized Bruno tells the police chief that he has never seen Guy before. Guy tells the police that Bruno was attempting to plant his lighter at the murder scene. As Bruno dies, his fingers open to reveal Guy's lighter in his hand.

As Guy and Anne travel home aboard a train, a minister who is also a tennis fan recognizes Guy and attempts to engage him in conversation. Remembering the trouble that transpired after talking to a stranger on a train, Guy abruptly whisks Anne away without replying to the minister.

• Farley Granger as Guy Haines
• Ruth Roman as Anne Morton
• Robert Walker as Bruno Antony
• Leo G. Carroll as Senator Morton
• Patricia Hitchcock as Barbara Morton
• Laura Elliott as Miriam Joyce Haines
• Marion Lorne as Mrs. Antony
• Jonathan Hale as Mr. Antony
• Howard St. John as Police Capt. Turley
• John Brown as Professor Collins
• Norma Varden as Mrs. Cunningham
• Robert Gist as Detective Hennessey
• John Doucette as Detective Hammond (uncredited)
• Georges Renavent as Monsieur Darville (uncredited)
• Barry Norton as Tennis Match Spectator (uncredited)

Alfred Hitchcock's cameo appearance in this movie occurs 11 minutes into the film. He is seen carrying a double bass as he climbs onto a train. Young Louis Lettieri, a child actor during the 1950s, plays a little boy who has his balloon maliciously popped by Bruno in the amusement park murder scene.

Hitchcock said that correct casting saved him "a reel of storytelling time", since audiences would sense qualities in the actors that did not have to be spelled out. Hitchcock said that he originally wanted William Holden for the Guy Haines role, but Holden declined. "Holden would have been all wrong—too sturdy, too put off by Bruno", writes critic Roger Ebert. "Granger is softer and more elusive, more convincing as he tries to slip out of Bruno's conversational web instead of flatly rejecting him."

Warner Bros. wanted their own stars, already under contract, cast wherever possible. In the casting of Anne Morton, Jack L. Warner got what he wanted when he assigned Ruth Roman to the project, over Hitchcock's objections. The director found her "bristling" and "lacking in sex appeal" and said that she had been "foisted upon him." Perhaps it was the circumstances of her forced casting, but Roman became the target of Hitchcock's scorn throughout the production. Granger diplomatically described it as Hitchcock's "disinterest" in the actress, and said he saw Hitchcock treat Edith Evanson the same way on the set of Rope (1948). "He had to have one person in each film he could harass", Granger said.

Kasey Rogers (whose performance as Miriam is credited as Laura Elliott) noted that she had perfect vision at the time the movie was made, but Hitchcock insisted she wear the character's thick eyeglasses, even in long shots when regular glass lenses would have been undetectable. Rogers was effectively blind with the glasses on and needed to be guided by the other actors. In one scene, she can be seen dragging her hand along a table as she walks, so she could keep track of where she was.

Pre-production

Hitchcock secured the rights to the Patricia Highsmith novel for just $7,500 since it was her first novel. As usual, Hitchcock kept his name out of the negotiations to keep the purchase price low. Highsmith was quite annoyed when she later discovered who bought the rights for such a small amount.

Securing the rights to the novel was the least of the hurdles Hitchcock would have to vault to get the property from printed page to screen. He got a treatment that pleased him on the second attempt, from writer Whitfield Cook, who wove a homoerotic subtext (only hinted at in the novel) into the story and softened Bruno from a coarse alcoholic into a dapper, charming mama's boy — a much more Hitchcockian villain. With treatment in hand, Hitchcock shopped for a screenwriter; he wanted a "name" writer to lend some prestige to the screenplay, but was turned down by eight writers, including John Steinbeck and Thornton Wilder, all of whom thought the story too tawdry and were put off by Highsmith's first-timer status. Talks with Dashiell Hammett got further, but here too communications ultimately broke down, and Hammett never took the assignment.

Hitchcock then tried Raymond Chandler, who had earned an Oscar nomination for his first screenplay, Double Indemnity, in collaboration with Billy Wilder. Chandler took the job despite his opinion that it was "a silly little story." But Chandler was a notoriously difficult collaborator and the two men could not have had more different meeting styles: Hitchcock enjoyed long, rambling off-topic meetings where often the film would not even be mentioned for hours, while Chandler was strictly business and wanted to get out and get writing. He called the meetings "god-awful jabber sessions which seem to be an inevitable although painful part of the picture business." Interpersonal relations deteriorated rapidly until finally Chandler became openly combative; at one point, upon viewing Hitchcock struggling to exit from his limousine, Chandler remarked within earshot, "Look at the fat bastard trying to get out of his car!" This would be their last collaboration. Chandler completed a first draft, then wrote a second, without hearing a single word back from Hitchcock; when finally he did get a communication from the director in late September, it was his dismissal from the project.

Next, Hitchcock tried to hire Ben Hecht, but learned he was unavailable. Hecht suggested his assistant, Czenzi Ormonde, to write the screenplay. Although Ormonde was without a formal screen credit, she did have two things in her favor: her recently published collection of short stories, Laughter From Downstairs, was attracting good notices from critics, and she was "a fair-haired beauty with long shimmering hair"—always a plus with Hitchcock. With his new writer, he wanted to start from square one:

At their first conference, Hitchcock made a show of pinching his nose, then holding up Chandler's draft with his thumb and forefinger and dropping it into a wastebasket. He told the obscure writer that the famous one hadn't written a solitary line he intended to use, and they would have to start all over on page one, using Cook's treatment as a guide. The director told Ormonde to forget all about the book, then told her the story of the film himself, from beginning to end.

There was not much time though — less than three weeks until location shooting was scheduled to start in the east. Ormonde hunkered down with Hitchcock's associate producer Barbara Keon—disparagingly called "Hitchcock's factotum" by Chandler—and Alma Reville, Hit