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Duality In The Film, Strangers On A Train

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Strangers on a Train The movie, Strangers on a Train started as a taxi arrived in the station with the music to be played in a grandioso. The music makes the audiences feel as more focused into the movie. Two men’s feet were heading to the station. In this point, the director Hitchcock unfolded his picture of the movie with duality. Guy had two tennis rackets. Bruno was wearing two tones of the shoe, black and white. The feet moved left to right. Camera movement focused on the feet as the beginning of the movie. Camera kept follow the two men’s feet until the stop. Then camera showed the two men, two main characters, Bruno Anthony and Guy Haines. It matched as counter wise to meet each other. When the first part of the movie which the camera …show more content…

For instance, Barbara resembled Mariam, which causes some psychological trauma to Bruno was an antagonist of the film which was definitely an embodiment of this concept. He was handsome and charming and much more charismatic than Guy was. He could even talk an old woman into letting him wrap his hands around her neck to demonstrate how to kill a person, smiling all the while. There was a bookend moment when the man from policy who was tailing Guy on his way back to the carnival bumped his shoe into another’s man’s foot, just like Guy and Bruno had …show more content…

For instance, the staff of the carnival saw Bruno then remembered him, even though he did not make himself entirely obvious. Yet when Guy spoke to the other stranger, professor on the train, they shared a moment that would have normally been remembered; when the professor was talking about his lecture and was surprised that Guy could understand what the professor said. However, when the professor came to policy to confirm Guy’s alibi, he could not remember Guy. And the most crossing path idea was when Bruno followed Mariam into the Tunnel and just as the two boats went out of sight, Bruno’s shadow looms over and almost swallow’s Mariam’s. This shadow imagery was a German expression which Hitchcock plotted into the film

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