This is a terrific and slightly creepy thriller with many of the usual Hitchcock themes. The photography is beautiful and makes the most of the black and white film with many striking images which burn onto the retina and make this film very much one that can be seen repeatedly. One thing hasn't stood the test of time: the quasi-Freudian and to my mind bogus psychology which seems to hover in the background over so many of his films. Nevertheless a very enjoyable 97 minutes.
Enjoyed it but found it a bit outdated by today's standards, not one of Hitchcock,s best but interesting. with some clever photography.
After four straight box office flops, Alfred Hitchcock was back in the money with this adaptation of Patricia Highsmith's debut novel. The one with the famous premise; two men (Farley Granger and Robert Walker) meet by accident and discuss an exchange of murders, which would obscure their motives...
Granger is the innocent party who gets snagged up in Walker's insanity... Hitch hired Raymond Chandler to write the screenplay. But sacked him- rather than work through their disagreements as Billy Wilder managed on Double Indemnity. So there's a feeling of might have been.
It has a classic film noir look, with many memorable images and set pieces, like the shot of a distant Robert Walker seen isolated against the Jefferson Monument. Or the climactic chase scene on a carousel. The murder of Granger's wife in the reflection of her spectacles is unforgettable.
The big bonus is Marion Lorne as one of Hitch's most wonderfully eccentric mother figures. And yet it doesn't quite succeed. Many thrillers skate round the idea that the stooge should just go to the police! But this more than most. Chandler thought the plot was crazy. But, for those who can suspend disbelief, there is a surfeit of the Master's virtuosity to be enjoyed.