I'm not a Hitchcock guy, but my sister and I were in Edinborough for three nights with nothing much to do. The restaurants close early and we were not in the mood for drinking. So, to the movies! There was a rep theater near the hotel, and on one night this was showing. Nice little place to see something. The movie was better than I expected, though I have to admit it looked a bit like a movie for television.
Hitchcock es un mecanismo del tiempo, de la imagen dentro del tiempo, que se temporaliza. A pesar de su carácter que raya en lo paródico en algunas ocasiones, ¿no es la secuencia final del carrusel el tiempo de la película, los mismos personajes recorriendo el propio tiempo de su película, como si ella siguiera su curso natural? Y él mismo lo representa: relojes, trenes y un partido de tenis. Móviles de la imagen.
Patricia Highsmith sure loved the metaphor of closeted homosexuality as homicidal sociopathy. I found the homoerotic subtext of the Ripley character to be a more effective version of what she does here, but Hitchcock here is as tight and gleeful as he ever was.
Extraordinary concept and adaptation of a well thought-out novel about two men who meet on a train and one of them encourages the other to "swap" murders, "I kill your wife if you kill my father". Filled with Hitchcock's notable dark humor, a memorable ending and the usual visual finesse that one expect from the master director, but it is Robert Walker's psychopath that leave a lasting impression.
The carousel set piece had my jaw on the floor - I can't imagine how absolutely thrilling that would've been in 1951. Hitch does a fantastic job as always, but the suspense he got out that hurried tennis match in the latter half of the film was especially sensational.