The black and white presentation in Strangers in a Train
The black and white presentation in Strangers in a Train provides a new definition, a feature that resembled the individual suitability of Hitchcock's work. The movie does not depict race in black-and-white throughout; it also does not depict good and evil people. Instead, it portrays the exact diversity of the human being in a way that is more dramatic than that of any straight-up literal genre. (Barr 49). I Bruno, who exhibits qualities of a heroine in the movie, are a constant reflection of how I play my part. In the movie, I appear as a man who is handsome, charismatic, and charming than the personality of Guy. My charm and humor remain relevant and intensely touching to everybody I come by except Barbara, Guy, and Anne.
Miriam and the Murder Plot
Miriam is the wife of Guy, who she is very promiscuous. Guy wants to divorce her because he gets into a new marriage with Anne. While on the train, Guy accidentally meets me. We share our problems, and I suggest something strange to him. I tell him that my father is a big trouble, and I want him dead. Therefore, to evade the police suspicion of the murder cases, I give Guy an idea that we should exchange our murder crimes by him killing my father and me to kill his wife, Miriam. Guy gets surprised and thinks that it is just a joke; however, I take it seriously. I play around with Miriam into a hidden place at the park and then take away her life. I call Guy and inform him of the news, and he is left wondering. Then, Guy receives the key to my father`s house, the map to the region, and the pistol to facilitate the murder from me. Guy gets informed about the killing of his wife. Furthermore, he is arrested by the police as a suspect, but he is not convicted, rather more suspects to the murder are sought out by the police.
Guy's Intentions and Dominance
Guy finally agrees to the initial persuasion by me and gets to the way headed for my father's house. Nevertheless, he does not have an intention to commit the murder as I would later learn. He did not find my dad in the room. He had planned to tell my dad about my evil plan and tell him that I was psychiatric. While he meets me to his surprise, he tells me to seek medical intervention. However, I refuse the suggestion. I say him that I am a smart and witty fellow and that he had betrayed me, but I was determined to go forth and punish his uncooperative and disloyal personality.
The Domineering Personality and Relationship Dynamics
In the film, my mother particularly standards out of the rest that her submissive and dearly subservient character towers high among her contemporaries. She has some element of dread toward me is a critical examination (Barr 64). The fact that she fears me is confirmed by how she covers around me whenever we come in direct contact, and more so by the fact that she embraces the culture of providing for me most of the things unconditionally. Furthermore, it is almost obvious that my mother supported me in the guest to winning the attention of Anne not because I am her son but merely because of the revered attention she bestows upon my person. At a keen analysis, most of my interactions with Guy remain to portray me as a domineering individual. I am dominant because my arguments form the platform of all that happens, and seemingly I control all that Guy says and does without his willingness. Furthermore, the relationship between Guy and his wife is a manifestation that he does not have an overbearing role as a husband to play his role autonomously without compulsion (Walter 127). Furthermore, when I meet with Guy for the first time, we both do not know each other, but I have the upper hand over him based on how we interact, as I expressly infringe into his privacy while he watches on.
Theme of Dualism
The theme of dualism, whereby two things happen coincidentally to give a reflection of what could occur in future is evident. In the first incidence, I develop a psychological trauma because it does not just add up why Antony resembles Barbara. However, just as my shoe bumped into Guy's shoe when we first met, similarly, while Guy was moving to the amusement park, he bumps his foot into the foot of another man on transit. The tennis scene while the match is going on is also a show of duality based on the unfolding of events. For example, when Guy plays tennis on the court, his opponent appears to overpower his tactic, and this is a reflection of him and me, where he tries on many occasions to run away from me in vain. An explanation of how the opponent takes control of the tennis game at the beginning against Guy mirrors the first incidence when I first took away the life of Marion (Barr 41). At some point, Guy is capable of championing his competitor on the tennis court, a show of how he prevailed against my efforts of compelling him to murder my father, but the reverse becomes true, mirroring how I responded with fury, holding him at ransom to commit the crime. Finally, Guy wins the game against his aggressive opponent, an event that comes incongruent duality of what happened between Guy and me.
My Despise towards My Father
Even though to the viewers, my possession to have Guy kill my father remains questionable, nevertheless, in the film, I am portrayed in a manner likely to imply that I despise my father. I told Guy that my dad hates him so much and that such people kind of deserved death. Many scenes in the film portray me an individual who is very much loved by his mother. However, a keen observation that demystifies the presence of my mother in vicinity reveals an Oedipal Complex (Deutelbaum 57). Typically, in the film, I pretend to be in need of all the attention my mom has for life.
Psychological Prisoners
While I talk to Guy in the movie, we are pictured as separated with shadows of metallic bars. The point is that both of our intuition and mental capabilities are held at ransom as psychological prisoners, struggling at what I want Guy to do and why he does not buy my arguments. Guy warns me, "You've got me acting like a criminal now" (Strangers on A Train - Movie). He furthermore appeals to me to let go his person. Nevertheless, I ignore Guy's argument on the account that my following him is because he picked my Monogrammed lighter I dropped on the train accidentally the initial contact we made. My presence at the tennis court raises suspicion in the film while Guy plays. Hitchcock portrays me as a sentinel from hell. When the camera zooms into the spectators at the court, the heads of all people in the crowd are seen moving about the ball as is tossed by the players. However, as the game is played, the rest of the spectators concentrate on the ball from one end to the other, while I am left focused on Guy exclusively. This reveals a lot of emotional connection between him and me, and perhaps how much I have to do with him than the game, which is to compel him to commit the murder (Highsmith 33).
Guy's Innocence
Guy is portrayed as an innocent individual in the movie, who is affected by my evil plot without their knowledge. The outstanding personality is witnessed in my actions in the movies, and it is almost unbearable to the viewers at the scene when it becomes evident that I have committed murder. Indeed, my emotional and intuitional operatives as are formulated by the author do not only portray me as hysterical but also as a terrifying member on the real platform across the scenes (Leval 1113). Therefore, for the audience to understand me better, the emotional characteristics I portray are multifaceted and seek a deeper demystification. On the one hand, it is a show that I suffer from emotional distress, which affects my psychological integrity, the way I relate to other people, and what I occasionally do. Some of the things I say seem to be little jokes and plain rhetoric. Nevertheless, when I follow up and accomplish my claims, my audience is left surprised and almost watches in disbelieve. My interactions with other characters are the only suitable approach through which my personality comes out. However, one is left wondering what kind of character Hitchcock could have come up with, had it remained centralized that I neither interact nor bond with other characters to reveal my mind to the audience before I rise to the occasion and act.
Conclusion
In conclusion, therefore, the film is an outstanding movie as is characterized by the many diverse scenes. I tower above my contemporaries in action, and most of my actions raise questions, many of which go unanswered in the film. The most outstanding emotional scenes among the rest are at the point when we meet on the train with Guy, two strangers, who immediately engage in a murder plot, to kill those we hate. Nevertheless, as the film continues, it is almost evident that Guy is not interested in the killing, but I follow him up to have him keep his word despite his efforts to avoid the same. After killing Miriam, the police follow it up and arrest Guy as a suspect. After his release, I follow him up to the tennis court to compel him to kill my father. His character is seen as remorseful for my possession for murder, and he comes to my father's house with the intention to warn him that his son was after his life. He finds me there instead, and I caution him about my keen intuition, and that he had betrayed me. Therefore, the audience is capable of curiously following me as a protagonist, just to learn what happens next considering the suspicion I raise across the scenes. The film ends with a demonstration of related experience and excellent capabilities among the characters about their roles.
Works Cited
Barr, Charles. "Hitchcock and Early Filmmakers; in A Companion to Alfred Hitchcock (eds T. Leitch and L. Poague). Wiley-Blackwell, Oxford, UK. 2011, pp. 48-66.
Deutelbaum, Marshall. "Alfred Hitchcock: A Life in Darkness and Light." Film Quarterly, vol. 58, no. 1, 2004, pp. 56-90.
Leval, P. N., & Lewis, A. (1993). Strangers on a Train. Michigan Law Review, vol. 91, no. 6, pp. 1110-1138.
Walter, Brian. "Daddy’s Girl: The Knowing Innocent in Strangers on a Train (1951)." Children in the Films of Alfred Hitchcock, 2014, pp. 113-126.
