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Sex with strangers dvd xxx

Sex with strangers dvd xxx

Melodrama always depends upon the propulsion of the plot by the characters within doing the dumbest possible things to get to the next scene. Melodrama thrives on the lowest common denominator. This, of course, does not lessen the enjoyability of the melodrama- be it Hollywood film, soap opera, pro wrestling, etc. Strangers On A Train includes many recurring Hitchcockian themes- the wrongly accused man, doubles, guilt, assumptions, and, yes, homosexuality.

Again, he is a weakling character controlled by a cunning, psychopathic character with definite homosexual leanings; only this time Granger does not play a homosexual character. The film was adapted for Hitchcock by Whitfield Cook, then handed over to crime novelist Raymond Chandler, who wanted to change many elements. Hitchcock resisted, then gave the final job of adding dialogue to Czenzi Ormonde, and an uncredited Ben Hecht. The depth in most Hitchcock films comes from the actors and their subtleties, not the written words.

Depth was the reason the film was made and actors hired, or else Hitchcock would likely have been satisfied with his storyboards published as early graphic novels. Yet, Strangers On A Train is not only a melodrama, but a very dark comedy, and this aspect helps very much to gloss over its narrative weaknesses.

Oh yes, and there was one bravura element; the almost preternaturally likable villainous performance of Robert Walker, in the last completed performance before his premature death.

The plot is both simple and alarming. Two total strangers meet on a train, although one might suspect that the meeting was not so accidental, after all, given what follows. One is a weak-willed amateur tennis star and wannabe politician Guy Haines Granger , soon to play at the U. Yet, even their meeting is shot in high style, as we see the two men board the train only from below the waist.

Guy wears sensible black shoes and Bruno ostentatious white and black ones. Bruno recognizes the star, and slowly starts to psychologically seduce him. These homoerotic aspects are toned down from the book and the American version of the film.

However, Guy is waiting for his divorce from a faithless, and bespectacled, young harridan to come through. Miriam Kasey Rogers, under the stage name of Laura Elliott is an anomaly in a film from this era. But, she changes her mind when she learns Guy is out to come into money from his new marriage, and she refuses an easy divorce.

This enrages Guy, who tells Anne he could strangle her when he next calls her. He would kill Miriam for Guy, and Guy would kill his father Jonathan Hale , who loathes him, for him. Guy pooh-poohed the idea, and left the train, never thinking of it seriously. The scenes of Bruno subsequently following and flirting with Miriam at an amusement park are a marvel of character and plot rolled into one. We see scenes where both characters, despicable in different ways, are revealed. Miriam is carousing with two men not her husband, openly allowing them to fondle and molest her.

Bruno flirts with her, and not satisfied with two men, she flirts back. Then there is a scene where Bruno is annoyed at a snotty little kid and pops his balloon phallus with his lit cigaret. It is the first of many sexual images Hitchcock employs in the scenes, for we can see the sexual buildup and foreplay going on, as Bruno is ready to pop his load at the murder.

But, before he does there are a few other great moments. Bruno, however, rings the bell, and flirts again with Miriam. Then, we cut to outside the tunnel, and we hear screams. It is the orgasmic cry of the freely fondled Miriam. The boats then head to an island in the middle of a lake, and Miriam cavorts with her would be suitors. Her face is lit, and we see her sexual arousal heightened, because Bruno- a seeming would be suitor, has followed her. He then ends the scene with the discovery of the body, and Bruno helping a blind man across a road; showing he is not totally evil- perhaps just a bit, and touched with insanity.

Bruno then leaves the park, but not before one of the vendors notes him as behaving suspiciously. Guy stupidly is perplexed, and right here is where the film leaves behind any hope of being a realistic portrayal of a demented character. Bruno has nothing on him, and a quick visit to the cops could easily have set Bruno up to be caught. But, that is not what happens. He follows Guy to a tennis match, and as all the heads in the crowd turn back and forth to follow the ball, Bruno stares directly at Guy- another chilling and patented Hitchcock moment.

Bruno even goes to a party that the Senator is giving, makes bizarre comments about energy sources and the planet Mars, then gets into a conversation about the perfect murder, similar to the conversation in Rope about the ethics of murder. He passes out, as if overcome by guilt over his crime. It is the sort of thing that Norman Bates, from Psycho, would have been incapable of doing, for Bruno is not impotent, merely over the top.

In the end, Guy and Anne try to undo Bruno without help from the police- another m. But, Guy has a match at Forest Hills and does not want to arouse suspicion, so plays his match. The lighter fell down a sewer grate. Of course, he does- after an excruciating few minutes of Bruno extending his grip downward, as if into hell, to recover the evidence.

Guy, who is not so bright, of course, somehow ditches his police tails, after the match, and heads for the amusement park in Metcalf to stop Bruno. This is also a good move because the scenes of the tennis match are very phony, and dated. With the cops tailing him, in Metcalf, Guy heads to the park, and spots Bruno, who tries to escape on a carousel.

A dumb cop fires at Guy, and shoots the innocent carousel operator, who falls and pulls the lever that sends the carousel careening faster and faster. The two lead characters battle it out on the careening carousel as the cops can do nothing.

They try to jump on, but are thrown off by the speed of the turning. Bruno tries to throw an annoying kid off the carousel, but Guy saves him. Bruno gets the upper hand and Guy is holding on for dear life from a carousel pole as Bruno tries to kick him off. An old man who works at the amusement park crawls under the carousel and stops it, causing it to fly apart. A carousel miniature was used for the crash, and the people in front were shot in front of a blank screen.

Afterwards, Bruno is crushed, Guy tells the cop the whole story, but Bruno denies it to the end. This is a wise move for the film and avoids the Hollywood ending, and makes Bruno all the more memorable a villain. The film, however improbably, ends with Guy cleared, and he and Anne on a train again, as a minister asks Guy if he is Guy Haines, just as Bruno did.

The couple walks away without a word, and the minister is puzzled. The film is a study in contrasts: Guy is stolid, linear, and an example of the 20th Century American social climber. Bruno is Old World, decadent, and seemingly bored with life. In a sense, he is much like the bored thrill killers in Rope- the film where Granger is the strangler. The film is also a wealth of details- humorous and otherwise.

Bruno also states that she forces him to wear a tie pin that spells out his name, something that others later identify him with. Another great aspect of the film is the musical scoring. When Guy is alone the film plays like a standard Hollywood melodrama, but Bruno brings the music of chaos- like a Dalian nightmarish interlude.

Dimitri Tionkin was behind this effective scoring, and the cinematography by Robert Burks is first rate. Disk one has the original minute film in its original 1. There is a film commentary by several Hitckcock players, family members, Psycho writer Joseph Stefano, and Peter Boganovich, by himself, and with scene commentaries with Bogdanovich interviewing Hitchcock in Why this was included seems to be only to justify calling it a two disk set.

An Appreciation by M. Night Shyamalan, in which the noted Hitchcock wannabe adds little to all that is said on the commentary and other featurettes. What makes Strangers On A Train better than most of its contemporary thrillers, as well as those made today, aside from its technical excellence, is how Hitchcock, even though never going into depth, does point at things still relevant today, such as homosexuality. And the charge that he is only showing gays as perverts has no relevance since all Hitchcock films, by definition, involve murder and crime, and the vast majority of its perpetrators are straight.

So to be accurate a small percentage will have to be gay. And, if you doubt that Bruno is gay, consider this: Perhaps the best aspect the film explores is why guiltless people act guilty. This very fact of feeling guilty when merely accused, even when totally innocent, is the very reason polygraph tests are worthless, for the high strung and indignant will always act and look guilty, merely when accused, while utter sociopaths, like a Bruno, can pass such tests with ease.

But, it certainly is a very good film, by any measure, with some deeper subtexts than the script alone entails. If only Hitchcock had been more at home in probing deeper into motivations, and grounding some of his films in reality more, he could have moved past being a mere technical genius, and graced the realm of high art more often than he did, that realm where the European directors did not fear to tread, where high art and mass appeal were not seen as mutually opposing forces.

It is not film noir, nor is it really a thriller, as commonly thought of. We know what is going on at all times, so the suspense is not a whodunit? And it is a darkly comic one at that.

Humor is used to gloss over many failures in life, and this film proves that statement true. When you watch Strangers On A Train you will wince, chuckle, smile, shake your head, be frustrated and relaxed, and if that is not the sign of a work of art that does more right than wrong, there are always new Hollywood releases to watch and wince to.

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Sex with strangers dvd xxx

Melodrama always depends upon the propulsion of the plot by the characters within doing the dumbest possible things to get to the next scene. Melodrama thrives on the lowest common denominator. This, of course, does not lessen the enjoyability of the melodrama- be it Hollywood film, soap opera, pro wrestling, etc.

Strangers On A Train includes many recurring Hitchcockian themes- the wrongly accused man, doubles, guilt, assumptions, and, yes, homosexuality. Again, he is a weakling character controlled by a cunning, psychopathic character with definite homosexual leanings; only this time Granger does not play a homosexual character. The film was adapted for Hitchcock by Whitfield Cook, then handed over to crime novelist Raymond Chandler, who wanted to change many elements.

Hitchcock resisted, then gave the final job of adding dialogue to Czenzi Ormonde, and an uncredited Ben Hecht. The depth in most Hitchcock films comes from the actors and their subtleties, not the written words. Depth was the reason the film was made and actors hired, or else Hitchcock would likely have been satisfied with his storyboards published as early graphic novels.

Yet, Strangers On A Train is not only a melodrama, but a very dark comedy, and this aspect helps very much to gloss over its narrative weaknesses.

Oh yes, and there was one bravura element; the almost preternaturally likable villainous performance of Robert Walker, in the last completed performance before his premature death. The plot is both simple and alarming. Two total strangers meet on a train, although one might suspect that the meeting was not so accidental, after all, given what follows.

One is a weak-willed amateur tennis star and wannabe politician Guy Haines Granger , soon to play at the U. Yet, even their meeting is shot in high style, as we see the two men board the train only from below the waist.

Guy wears sensible black shoes and Bruno ostentatious white and black ones. Bruno recognizes the star, and slowly starts to psychologically seduce him. These homoerotic aspects are toned down from the book and the American version of the film.

However, Guy is waiting for his divorce from a faithless, and bespectacled, young harridan to come through. Miriam Kasey Rogers, under the stage name of Laura Elliott is an anomaly in a film from this era. But, she changes her mind when she learns Guy is out to come into money from his new marriage, and she refuses an easy divorce. This enrages Guy, who tells Anne he could strangle her when he next calls her. He would kill Miriam for Guy, and Guy would kill his father Jonathan Hale , who loathes him, for him.

Guy pooh-poohed the idea, and left the train, never thinking of it seriously. The scenes of Bruno subsequently following and flirting with Miriam at an amusement park are a marvel of character and plot rolled into one.

We see scenes where both characters, despicable in different ways, are revealed. Miriam is carousing with two men not her husband, openly allowing them to fondle and molest her. Bruno flirts with her, and not satisfied with two men, she flirts back. Then there is a scene where Bruno is annoyed at a snotty little kid and pops his balloon phallus with his lit cigaret.

It is the first of many sexual images Hitchcock employs in the scenes, for we can see the sexual buildup and foreplay going on, as Bruno is ready to pop his load at the murder. But, before he does there are a few other great moments.

Bruno, however, rings the bell, and flirts again with Miriam. Then, we cut to outside the tunnel, and we hear screams. It is the orgasmic cry of the freely fondled Miriam. The boats then head to an island in the middle of a lake, and Miriam cavorts with her would be suitors. Her face is lit, and we see her sexual arousal heightened, because Bruno- a seeming would be suitor, has followed her.

He then ends the scene with the discovery of the body, and Bruno helping a blind man across a road; showing he is not totally evil- perhaps just a bit, and touched with insanity. Bruno then leaves the park, but not before one of the vendors notes him as behaving suspiciously. Guy stupidly is perplexed, and right here is where the film leaves behind any hope of being a realistic portrayal of a demented character.

Bruno has nothing on him, and a quick visit to the cops could easily have set Bruno up to be caught. But, that is not what happens. He follows Guy to a tennis match, and as all the heads in the crowd turn back and forth to follow the ball, Bruno stares directly at Guy- another chilling and patented Hitchcock moment. Bruno even goes to a party that the Senator is giving, makes bizarre comments about energy sources and the planet Mars, then gets into a conversation about the perfect murder, similar to the conversation in Rope about the ethics of murder.

He passes out, as if overcome by guilt over his crime. It is the sort of thing that Norman Bates, from Psycho, would have been incapable of doing, for Bruno is not impotent, merely over the top. In the end, Guy and Anne try to undo Bruno without help from the police- another m. But, Guy has a match at Forest Hills and does not want to arouse suspicion, so plays his match.

The lighter fell down a sewer grate. Of course, he does- after an excruciating few minutes of Bruno extending his grip downward, as if into hell, to recover the evidence. Guy, who is not so bright, of course, somehow ditches his police tails, after the match, and heads for the amusement park in Metcalf to stop Bruno. This is also a good move because the scenes of the tennis match are very phony, and dated. With the cops tailing him, in Metcalf, Guy heads to the park, and spots Bruno, who tries to escape on a carousel.

A dumb cop fires at Guy, and shoots the innocent carousel operator, who falls and pulls the lever that sends the carousel careening faster and faster. The two lead characters battle it out on the careening carousel as the cops can do nothing. They try to jump on, but are thrown off by the speed of the turning. Bruno tries to throw an annoying kid off the carousel, but Guy saves him. Bruno gets the upper hand and Guy is holding on for dear life from a carousel pole as Bruno tries to kick him off.

An old man who works at the amusement park crawls under the carousel and stops it, causing it to fly apart. A carousel miniature was used for the crash, and the people in front were shot in front of a blank screen.

Afterwards, Bruno is crushed, Guy tells the cop the whole story, but Bruno denies it to the end. This is a wise move for the film and avoids the Hollywood ending, and makes Bruno all the more memorable a villain. The film, however improbably, ends with Guy cleared, and he and Anne on a train again, as a minister asks Guy if he is Guy Haines, just as Bruno did.

The couple walks away without a word, and the minister is puzzled. The film is a study in contrasts: Guy is stolid, linear, and an example of the 20th Century American social climber. Bruno is Old World, decadent, and seemingly bored with life. In a sense, he is much like the bored thrill killers in Rope- the film where Granger is the strangler. The film is also a wealth of details- humorous and otherwise. Bruno also states that she forces him to wear a tie pin that spells out his name, something that others later identify him with.

Another great aspect of the film is the musical scoring. When Guy is alone the film plays like a standard Hollywood melodrama, but Bruno brings the music of chaos- like a Dalian nightmarish interlude. Dimitri Tionkin was behind this effective scoring, and the cinematography by Robert Burks is first rate. Disk one has the original minute film in its original 1.

There is a film commentary by several Hitckcock players, family members, Psycho writer Joseph Stefano, and Peter Boganovich, by himself, and with scene commentaries with Bogdanovich interviewing Hitchcock in Why this was included seems to be only to justify calling it a two disk set. An Appreciation by M. Night Shyamalan, in which the noted Hitchcock wannabe adds little to all that is said on the commentary and other featurettes.

What makes Strangers On A Train better than most of its contemporary thrillers, as well as those made today, aside from its technical excellence, is how Hitchcock, even though never going into depth, does point at things still relevant today, such as homosexuality.

And the charge that he is only showing gays as perverts has no relevance since all Hitchcock films, by definition, involve murder and crime, and the vast majority of its perpetrators are straight.

So to be accurate a small percentage will have to be gay. And, if you doubt that Bruno is gay, consider this: Perhaps the best aspect the film explores is why guiltless people act guilty.

This very fact of feeling guilty when merely accused, even when totally innocent, is the very reason polygraph tests are worthless, for the high strung and indignant will always act and look guilty, merely when accused, while utter sociopaths, like a Bruno, can pass such tests with ease.

But, it certainly is a very good film, by any measure, with some deeper subtexts than the script alone entails. If only Hitchcock had been more at home in probing deeper into motivations, and grounding some of his films in reality more, he could have moved past being a mere technical genius, and graced the realm of high art more often than he did, that realm where the European directors did not fear to tread, where high art and mass appeal were not seen as mutually opposing forces.

It is not film noir, nor is it really a thriller, as commonly thought of. We know what is going on at all times, so the suspense is not a whodunit?

And it is a darkly comic one at that. Humor is used to gloss over many failures in life, and this film proves that statement true. When you watch Strangers On A Train you will wince, chuckle, smile, shake your head, be frustrated and relaxed, and if that is not the sign of a work of art that does more right than wrong, there are always new Hollywood releases to watch and wince to.

Sex with strangers dvd xxx

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