Name: SX Sunday Double: NORTH BY NORTHWEST + STRANGERS ON A TRAIN
Start: 2024-09-29T16:30:00+08:00
Location: Luna on SX

SX Sunday Double: NORTH BY NORTHWEST + STRANGERS ON A TRAIN

NORTH BY NORTHWEST (1959) | M
Nearly getting killed never looked like so much fun!
Selected as one of the top 50 American films of all time by the prestigious American Film Institute, and considered by many critics to be Hitchcock's greatest and most entertaining film, starring Cary Grant and Eva Maria Saint.
Madison Avenue advertising man, Roger Thornhill finds himself thrust into the world of spies when he is mistaken for a man by the name of George Kaplan. Foreign spy Philip Vandamm and his henchman Leonard try to eliminate him but when Thornhill tries to make sense of the case, he is framed for murder.
Now on the run from the police, he manages to board the 20th Century Limited bound for Chicago where he meets a beautiful blond, Eve Kendall, who helps him to evade the authorities. His world is turned upside down yet again when he learns that Eve isn't the innocent bystander he thought she was. Not all is as it seems, however, leading to a dramatic rescue and escape at the top of Mt. Rushmore.
10 min intermission.
STRANGERS ON A TRAIN (1951) | M
How do you get away with murder? Bruno (Robert Walker)—a loco man on a locomotive—has an idea, which he pitches to too-trusting tennis pro, Guy (Farley Granger): I K*ll yours, you K*ll mine. Guy then finds himself caught in one of the most tense webs Hitch ever weaved, climaxing in a memorable setpiece on a spinning carousel.
Adapted from Patricia Highsmith's novel, Strangers on a Train takes as its central proposition the meeting and ensuing guilty association of two strangers, Granger and Walker. Walker buttonholes Granger, a star tennis player anxious to remarry but with a clinging wife, and initiates a hypnotic discussion of exchange murders. Significantly, Hitchcock didn't use much of Raymond Chandler's original script, because Chandler was too concerned with the characters' motivation. In place of that, Hitchcock erects a web of guilt around Granger, who 'agreed' to his wife's murder, a murder that suits him very well, and structures his film around a series of set pieces, ending with a paroxysm of violence on a circus carousel.