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The Camera LiesActing for Hitchcock$
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Dan Callahan

Print publication date: 2020

Print ISBN-13: 9780197515327

Published to Oxford Scholarship Online: August 2020

DOI: 10.1093/oso/9780197515327.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 02 August 2021

Strangers on a Train, I Confess

Strangers on a Train, I Confess

Chapter:
(p.161) 12 Strangers on a Train, I Confess
Source:
The Camera Lies
Author(s):

Dan Callahan

Publisher:
Oxford University Press
DOI:10.1093/oso/9780197515327.003.0012

On the first day of shooting, Hitchcock referred to Strangers on a Train (1951) as “my real first film,” and the Master drew a charismatic, shoot-the-works performance from Robert Walker, who was cast against type as the colorful psychopath Bruno Anthony. But then Hitchcock was annoyed by the extensively labored-over Method acting of Montgomery Clift in I Confess (1952), a case of an actor doing too much, albeit very expressively, underneath a surface that keeps cracking because of lack of control. He also had to use the breathy Anne Baxter when he would have preferred the Swedish actress Anita Bjork.

Keywords:   Robert Walker, Farley Granger, Marion Lorne, Strangers on a Train, Montgomery Clift

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