The police question Guy, but cannot confirm his alibi: a professor Guy met on the train was so drunk that he cannot remember their encounter. He is also something of a hedonist. "[65], Patricia Highsmith's opinion of the film varied over time. He complained privately that Hitchcock was too ready to sacrifice dramatic logic (insofar as it exists) for the sake of a camera effect.[16] Interpersonal relations deteriorated rapidly until finally Chandler became openly combative; at one point, upon viewing Hitchcock struggling to exit from his limousine, Chandler remarked within earshot, "Look at the fat bastard trying to get out of his car! So much occurs in pairs. ("he's stronger," he told Francois Truffaut), but Holden would have
homosexuality still dared not speak its name very loudly in 1951, Hitchcock was
Believing that Guy is trying to escape, a police officer shoots at him, but instead kills the carousel operator, causing the carousel to spin out of control. One day, he meets a stranger named Bruno on a train going back home. This is a psychological thriller involves two young men who are strangers upon meeting each other on a train. Hitchcock himself designed Bruno's lobster necktie, revealed in a close-up to have strangling lobster claws,[26] and "he personally selected an orange peel, a chewing-gum wrapper, wet leaves, and a bit of crumpled paper that were used for sewer debris"[22] in the scene where Bruno inadvertently drops Guy's lighter down the storm drain. DVD Features: . the wall make it appear Bruno has overtaken them. So much occurs in pairs. upstairs in the dark in Bruno's house, Hitchcock told Truffaut, he hit on the
Includes initial monthly payment and selected options. This is a five minute mise en scene analysis podcast of the tennis scene from Alfred Hitchock's "Strangers on a Train" by Connor Best and Amanda McVey. Ordinary Washington locations become sinister hunting grounds that mirror perfectly the creeping terror that slowly consumes Guy, as the lethally smooth Bruno relentlessly pursues him to a frenzied climax. inspiration of a very large dog to distract the audience from what he would
a divorce from his cheating wife, Miriam (Kasey Rogers), in order to marry Anne
Guy is suspended between tennis and politics, between his tramp wife and his senator's daughter, and Bruno is seeking desperately to establish an identity through violent, outr actions and flamboyance (shoes, lobster-patterned tie, name proclaimed to the world on his tiepin). In 1975, he won the Pulitzer Prize for distinguished criticism. But, for all that, his basic premise of fear fired by menace is so thin and so utterly unconvincing that the story just does not stand. Fast, exciting, and woven with wicked style, this is one of Hitchcock's most efficient and ruthlessly delicious thrillers. audiences would sense qualities in the actors that didn't need to be spelled
Hitchcock had a crew shoot background footage of the 1950 Davis Cup finals held August 2527, 1950 at the West Side Tennis Club in Forest Hills, New York. In the novel, Guy Haines is not a tennis player, but rather a promising architect, and he does indeed go through with the murder of Bruno's father. As Guy listens with detached amusement, Bruno discusses the theory of \"exchange murders.\" Suppose that Bruno were to murder Guy's wife, and Guy in exchange were to kill Bruno's father? Beyond all the historical footnotes and film-buff fascination. [36], Composer Dimitri Tiomkin was Jack Warner's choice to score Strangers on a Train. [7] The director found her "bristling" and "lacking in sex appeal" and said that she had been "foisted upon him. On this Wikipedia the language links are at the top of the page across from the article title. Guy and Anne coldly walk away from him. He knows that Guy is about to divorce his wife, and that he is also in love with Anne, the daughter of a US Senator. "[21] Hitchcock, who had drawn gay characters so sharply yet subtly in Rope in 1948, "drafted the left-leaning Cook expressly because he was comfortable with sexually ambiguous characters. conversation -- which ends on an ambiguous note, with Bruno trying to get Guy
"[23], Burks considered his fourteen years with Hitchcock the best of his career: "You never have any trouble with him as long as you know your job and do it. When he reaches his destination, Guy bids goodbye to Bruno, thinking nothing more of the affable but rather curious young man's homicidal theories. The film's opening conversation scene on the train is like a tennis match in which Guy serves up one weak lob after another for Bruno to put sway. In a conventional movie, the tune would play in the background as a clever ironic backdrop. The film's climax, which takes place on a carousel, is one of the most complex scenes ever shot by the director. Highsmith was a chameleon, a renegade, an experimenter, a loner, and a fantastically brave innovator. The camera was on one side of the reflector, Elliott was on the other, and Hitchcock directed Elliott to turn her back to the reflector and "float backwards, all the way to the floor like you were doing the limbo. Talented Mr. Ripley," made into a 1999 movie in which her criminal hero
Off-handedly, he suggests to Guy that they trade murders: Bruno will kill Guy's troublesome wife, and Guy will eliminate Bruno's despised father. "Shadow of a Doubt"), and its appeal is probably the linking of an
Hitchcock
The press release embellished the tale, claiming he left her "dangling in total darkness for an hour,"[36] only then allowing his "trembling daughter" to be lowered and released. "[14] But Chandler was a notoriously difficult collaborator and the two men could not have had more different meeting styles: Hitchcock enjoyed long, rambling off-topic meetings where often the film would not even be mentioned for hours, while Chandler was strictly business and wanted to get out and get writing. "[22] While Guy and Bruno fight, the ride runs out of control until it tears itself to pieces, flinging wooden horses into the crowd of screaming mothers and squealing children. remains one of Hitchcock's crowning achievements and a suspenseful classic that never loses its capacity to thrill and delight. Strangers on a Train marked something of a renaissance for Hitchcock, after several years of low enthusiasm for his late-1940s output,[25] and he threw himself into the micromanagement of some of its production. Upon its release in 1951, Strangers on a Train received mixed reviews. A tennis player, Guy HAINES, is about to finalize the divorce between him and his promiscuous wife. Highsmith
wants dead. From its cleverly choreographed opening sequence to its heart-stopping climax on a rampant carousel, this 1951 Hitchcock classic readily earns its reputation as one of the director's finest examples of timeless cinematic suspense. the references to his private life, but inexplicably doesn't break off the
strangers on a train. The website's consensus reads, "A provocative premise and inventive set design lights the way for Hitchcock diabolically entertaining masterpiece. Disc1 contains the movie in a good looking & sounding print with optional subtitles + French & Italian language versions and has a very good,entertaining commentary with various people talking about the film, book and much else, with the highlight for 'Hitchophiles' being interview segments of director & Hitchcock biographer Peter Bogdanovich questioning the man himself. quite aware of Bruno's orientation, and indeed edited separate American and
Highly recommended. He found exactly what he needed right on the Warners lot in the person of staff cameraman Robert Burks, who would continue to work with Hitchcock, shooting every Hitchcock picture through to Marnie (1964), with the exception of Psycho. Once on the train, Bruno orders a pair of double drinks "The only kind of doubles I play", he says charmingly. "[43] "This was good stuff for press agents paid to stir up thrills and it has been repeated in other books to bolster the idea of Hitchcock's sadism,"[36] but "we were [only] up there two or three minutes at the outside. My father wasn't ever sadistic. Shipping cost, delivery date, and order total (including tax) shown at checkout. Strangers On A Train is about two men, Guy Haines and Bruno Anthony, who meet on a train by accidentally knocking shoes. The film initially received mixed reviews but has since been regarded much more favorably. He called the meetings "god-awful jabber sessions which seem to be an inevitable although painful part of the picture business. Tennis star Guy (Farley Granger) hates his unfaithful wife. Also in the cast are Ruth Roman, Leo J. Carroll, Patricia Hitchcock (Alfred's daughter), Marion Lorne, and Kasey Rogers. stunt man could have been killed; Hitchcock said he would never take such a
This includes lots of great home movies; Alfred Hitchcock's Historical Meeting (SD; 1:08) is a weird little snippet without sound that shows Hitch interacting with actors made up as historical characters. Actually, it's doubly fascinating. # staring # stalker # alfred hitchcock # strangers on a train # tennis match. When Guy arrives home, Bruno informs him Miriam is dead and insists that he must now honor their deal. Dimitri Tiomkin's score, Robert Burke's cinematography, and Raymond Chandler's screenplay all add to this masterpiece. The
According to Bruno, it's all to be read in the newspapers, especially the gossip concerning Guy's relationship with the daughter of a United States senator, and the ongoing drama with Guy's soon-to-be ex-wife, a good-time gal who's pregnant with another man's child. Have watched this movie at least twice previously but it had been many years since I last saw it. [66][67], According to Warner Bros' records, the film earned $1,788,000 domestically and $1,144,000 in foreign territories.[1]. "I have always given it careful consideration, so that my characters never eat out of character. Hitchcock wanted the phone in the foreground to dominate the shot, emphasizing the importance of the call, but the limited depth-of-field of contemporary motion picture lenses made it difficult to get both phone and women in focus. He is seen carrying a double bass as he climbs onto a train. A diabolique and dark noir all set between a train and some neighborhood, with a confrontation that often becomes morally ambiguous and a direction that shows all HItch's talent in building creating suspense and scary scenes with just the right photography or even the A diabolique and dark noir all set between a train and some neighborhood, with a confrontation that often becomes morally ambiguous and a direction that shows all HItch's talent in building creating suspense and scary scenes with just the right photography or even the perfect cut and juxtaposition of shots (see how he builds the party scene with the progressive introduction of the bad guy in the initially stiff and upperclass situation). Strangers on a Train Preview Version (SD; 1:42:57). Sometime later, another stranger on a train attempts to strike up conversation with Guy in the same way as had Bruno. While Hitchcock strips out much of the textured sociopathy of Bruno's machinations, Hitchcocks preserves the ripely perverse relationship and its intimacy and murderous expression. Strangers on a Train (1951) was director Alfred Hitchcock's suspenseful, noirish black and white thriller about two train passengers: tennis pro Guy Haines (Farley Granger) and psychopathic dandy Bruno Antony (Robert Walker), who staged a battle of wits and proposed trading motiveless murders with each other. Best known is the one
Variety praised it, writing: "Performance-wise, the cast comes through strongly. Is he dishonest? By month's end, they were back in California. Bruno wants to kill his father, but knows he will be caught because he has a motive. This fear is at the heart of many of
whose conversation shows a detailed knowledge of Guy's private life. Closed-captioned, NTSC, Full Screen, Black & White. In 2021, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[3]. an intriguing note from a user of the Internet Movie Database, claiming to have
"Hitchcock told me that this scene was the most personally frightening moment for him in any of his films", writes biographer Charlotte Chandler. [4] "Granger is softer and more elusive, more convincing as he tries to slip out of Bruno's conversational web instead of flatly rejecting him. (Robert Walker) hates his father. Although Hitchcock admitted to undercranking the shot (artificially accelerating the action),[34] it was not a trick shot: the man actually had to crawl under the spinning ride, just inches from possible injury. there would be no possible connection between killer and victim. Bruno is standing behind an iron gate, the bars casting symbolic shadows on his
Addeddate 2021-02-10 15:58:01 Perhaps there will be those in the audience who will likewise be terrified by the villain's darkly menacing warnings and by Mr. Hitchcock's sleekly melodramatic tricks. is crucial. with any force or conviction. calculation, and usually got away with their crimes. His best performance and best casting. It proceeds, as Hitchcock's films
"[47], Guy and Bruno are in some ways doubles, but in many more ways, they are opposites. Strangers on a Train (1951) Full Cast & Crew See agents for this cast & crew on IMDbPro Directed by Alfred Hitchcock Writing Credits Cast (in credits order) verified as complete Produced by Alfred Hitchcock . "[I]n one of the most unexpected, most aesthetically justified moments in film,"[29] the slow, almost graceful, murder is shown as a reflection in the victim's eyeglasses, which have been jarred loose from her head and dropped to the ground. It's not just a ripping-good thriller but a film student's delight and a perversely enjoyable battle of wits between tennis pro Guy (Farley Granger) and his mysterious, sycophantic admirer, Bruno (Robert Walker), who proposes a "criss-cross" scheme of traded murders. A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder. The psychological game that Bruno plays on Guy is to force him to kill Bruno's over-bearing father. He always used the convention that the left side of the screen is for evil and/or weaker characters, while the right is for characters who are either good or temporarily dominant. The story concerns two strangers who meet on a train, one of whom is a psychopath who suggests that they "exchange" murders so that neither will be caught. Buy it! These disturbing sounds, heard to superb effect in cues such as 'The Meeting,' 'Senator's Office,' and 'Jefferson Memorial,' are not just about Bruno, but about how he is perceived by those whose lives he crossesfirst Guy, then everyone in Guy's entourage."[37]. "[5], The two characters, Guy and Bruno, can be viewed as doppelgngers. Guy nervously steps into the shadows with Bruno, literally behind the bars of an iron fence; "You've got me acting like I'm a criminal", he says. "[61], In contrast, modern reviews have been overwhelmingly positive. Hitchcock had written exacting specifications for an amusement park, which was constructed on the ranch of director Rowland Lee in Chatsworth, California. Reviewed in the United States on October 15, 2007. Bruno's, which is looking straight ahead at Guy. Even classic endeavors like Fargo and A Simple Plan seem directly fueled by this concept"[64], Almar Haflidason was effusive about Strangers on a Train in 2001 at the BBC website: "Hitchcock's favourite device of an ordinary man caught in an ever-tightening web of fear plunges Guy into one of the director's most fiendishly effective movies. When Bruno drops the lighter down the sewer, he tells the bystanders, he needs help retrieving his cigarette CASE. "Preferences in food characterize people" Hitchcock said. That carousel scene was not faked! "You're a free man now", he says, just as a police car drives up, looking for the husband of a certain recent murder victim. "[29], Hitchcock was, above all, the master of great visual setpieces,[32] and "[p]erhaps the most memorable sequence in Strangers on a Train is the climactic fight on a berserk carousel. weaker characters, while the right is for characters who are either good, or
The aestheticizing of the horror somehow enables the audience to contemplate more fully its reality. The premise is fascinating because it was far more intricate than I had been led to believe. criminal.". Robert Walker is uncanny. the DVD, 12 minutes and 16 seconds into the running time. Ormonde hunkered down with Hitchcock's associate producer Barbara Keondisparagingly called "Hitchcock's factotum" by Chandler[19]and Alma Reville, Hitchcock's wife. In accordance with the cautious censorship guidelines of the period, Hitchcock would later tame these elements of Walker's memorable performance by trimming and altering certain scenes, so the differences between the original and prerelease versions provide an illuminating illustration of censorship's effect on the story's thematic intensity. Warner Bros financial information in The William Shaefer Ledger. Co-adapted by Raymond Chandler from a novel by Patricia Highsmith, Strangers on a Train perfectly exemplifies Hitchcock's favorite theme of the evil that lurks just below the surface of. Miriam informs Guy that she no longer wants to end their marriage. --Jeff Shannon, Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.Learn more how customers reviews work on Amazon, [{"displayPrice":"$8.99","priceAmount":8.99,"currencySymbol":"$","integerValue":"8","decimalSeparator":".","fractionalValue":"99","symbolPosition":"left","hasSpace":false,"showFractionalPartIfEmpty":true,"offerListingId":"ljxr4RXVFhT%2BPKRvZQtlYfMQPNkFvRWItSCJh6gvH8GODWGblG4sOglXU76ALdS03DRPExbb%2FgT4ZclL52JN1JP63V80l0djKnnQ%2FjE7RB2b7X5Iga6UtCyo5UN0UwFtFdwFKEiMfxcgxAttav%2FH4txtYXoihOdmJf71qTDZgulgppJc7UoNeUIOV4CKcI3Q","locale":"en-US","buyingOptionType":"USED"}]. "[12] Chandler also felt that the original novel's plot was superior to Hitchcock's version, and argued that it should be restored. [9] Hitchcock had already shot the long shots for the tennis match at Forest Hills and would add closer shots with Granger and Jack Cushingham, Granger's tennis coach off-screen and Guy's tennis opponent Fred Reynolds on-screen at a tennis club in South Gate, California. Another great shot shows Bruno's face in the shadow of his hat brim,
Behind the Story contains these featurettes: Strangers on a Train: A Hitchcock Classic (SD; 36:44) is a nice overview with Peter Bogdanovich and several others discussing the importance of the film in the Hitchcock canon; Strangers on a Train: The Victim's P.O.V. are swiveling back and forth to follow the game -- except for one head,
( IMDB). Hitchcock allegedly wanted William Holden for the role of Guy
This is one of Alfred Hitchcock's most complex amd multi-layered films. Tennis star Guy (Farley Granger) hates his unfaithful wife. [56] In the book, Bruno dies in a boating accident[56] far removed from a merry-go-round. ingenious plot with insinuating creepiness. Hitchcock, promotionally photographed many times over the years strangling various actresses and other women some one-handed, others two found himself in front of a camera with his fingers around the neck of a bust of daughter Patricia;[26] the photo found its way into newspapers nationwide. Over lunch in his private
Co-adapted by Raymond Chandler from a novel by Patricia Highsmith, Strangers on a Train perfectly exemplifies Hitchcock's favorite theme of the evil that lurks just below the surface of everyday life and ordinary men.CREDITS:TM \u0026 Warner Bros. (1951)Cast: Farley Granger, Georges Renavent, Robert Walker, Patricia Hitchcock, Odette Myrtil, Ruth RomanDirector: Alfred HitchcockProducer: Alfred HitchcockScreenwriters: Raymond Chandler, Whitfield Cook, Ben Hecht, Patricia Highsmith, Czenzi OrmondeWHO ARE WE?The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Full content visible, double tap to read brief content. [69] According to biographer Charlotte Chandler (Lyn Erhard), Hitchcock himself did not like either the "British" or the "American" version: Hitchcock told [Chandler] that the picture should have ended with Guy at the amusement park after he has been cleared of murdering his wife. the Master of Suspense often asked. "[8] Perhaps it was the circumstances of her forced casting, but Roman became the target of Hitchcock's scorn throughout the production. was a lesbian whose novels have uncanny psychological depth; Andrew Wilson's
[28] Anne reaches for the big phone, but actually answers a regular one: "I did that on one take", Hitchcock explained, "by moving in on Anne so that the big phone went out of the frame as she reached for it. temporarily dominant. It is one of the moments in Hitchcock's work that continues to bring gasps from every audience and applause from cinema students. Made by movie fans, for movie fans.SUBSCRIBE TO OUR MOVIE CHANNELS:MOVIECLIPS: http://bit.ly/1u2yaWdComingSoon: http://bit.ly/1DVpgtRIndie \u0026 Film Festivals: http://bit.ly/1wbkfYgHero Central: http://bit.ly/1AMUZwvExtras: http://bit.ly/1u431frClassic Trailers: http://bit.ly/1u43jDePop-Up Trailers: http://bit.ly/1z7EtZRMovie News: http://bit.ly/1C3Ncd2Movie Games: http://bit.ly/1ygDV13Fandango: http://bit.ly/1Bl79yeFandango FrontRunners: http://bit.ly/1CggQfCHIT US UP:Facebook: http://on.fb.me/1y8M8axTwitter: http://bit.ly/1ghOWmtPinterest: http://bit.ly/14wL9DeTumblr: http://bit.ly/1vUwhH7 has even been reported in the movie's lore (all the attention goes to
A recently found longer prerelease British print (Side B) offers "a startling amplification of Bruno's flamboyance, his homoerotic attraction to Guy and his psychotic personality," according to Bill Desowitz of Film Comment. Hitchcock's trademark cameo) but you can look for yourself, in chapter six of
Next shot. conversational web instead of flatly rejecting him. "[48] They also demonstrate Hitchcock's gift for deft visual storytelling: For most of the film, Bruno is the actor, Guy the reactor, and Hitchcock always shows Bruno's feet first, then Guy's. "The climactic carousel explosion was a marvel of miniatures and background projection, acting close-ups and other inserts, all of it seamlessly matched and blended under film editor William H. Ziegler's eye. "[8], Hitchcock took a toy carousel and photographed it blown up by a small charge of explosives. Guy
To the man committed to a career in politics, Bruno represents a tempting overthrow of all responsibility. These events were the background to their work, while Hitchcock, Cook, Ormonde and Keon were preparing the script for Strangers, and film scholar Robert L. Carringer has written of a political subtext to the film. helps explain how Bruno could come so close to carrying out his plan. "On one side of the street, [are] stately respectable houses; towering in the background, on the right of the screen, the floodlit dome of the U.S. Capitol, the life to which Guy aspires, the world of light and order. To think she may have
either of the actors, Walker's Bruno has been called one of Hitchcock's best
A football match is always ninety minutes, stretched to thirty minutes extra and a possible penalty shoot-out at most. The
Then a grip put a normal-sized phone on the table, where she picked it up. Reviewed in the United States on November 28, 2022. flirtatious and seductive, sitting too close during their first meeting, and
thriller with odd little kinks now and then. [21] "To all appearances Guy is the all-American stereotype, an athlete, unassuming despite his fame, conservatively dressed," wrote Carringer; he is "a man of indeterminate sexual identity found in circumstances making him vulnerable to being compromised. His obsession with being wrongly accused no doubt refers to a traumatic episode
There are two respectable and influential fathers, two women with eyeglasses, and two women at a party who delight in thinking up ways of committing the perfect crime. Perhaps Bruno thought it would sound more important if he said he'd dropped a case rather than a mere lighter. A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder.A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder.A psychopath forces a tennis star to comply with his theory that two strangers can get away with murder. There can be no compromise in his work, his food or his wines. The premise is fascinating because it was far more intricate than I had been led to believe. Mysterious Bruno (Robert Walker) hates his father. face, and Guy stands to his right, outside the gate. where Guy scans the crowd at a tennis match and observes that all of the heads
"[18]always a plus with Hitchcock. "He had to have one person in each film he could harass," Granger said. By the time Guy disembarks from the train, he has unwittingly entered into a deal with the devil, and his life almost immediately begins to unravel. He got a treatment that pleased him on the second attempt, from writer Whitfield Cook, who wove a homoerotic subtext into the story. Granger
[21], Carringer has argued that the film was crucially shaped by the Congressional inquiries, making Guy the stand-in for victims of the homophobic climate. Bruno does murder Guy's wife, and then demands that Guy keep his half of the
To amuse another guest, Bruno playfully demonstrates how to strangle a woman. My mum had said this was a great film, and she was right. Brilliant. Strangers on a Train ( 1951) 100-101 mins | Drama | 30 June 1951 Cast: Farley Granger, Ruth Roman, Robert Walker [ More ] Director: Alfred Hitchcock Writers: Raymond Chandler, Czenzi Ormonde, Whitfield Cook Producer: Alfred Hitchcock Cinematographer: Robert Burks Editor: William Ziegler Production Designer: Edward S. Haworth Production Company: "[55], Although its first rumblings came in 1947 with the trial and conviction of the "Hollywood Ten," the so-called Red Scare was gathering steam in 1950, with the espionage-related arrests of Julius and Ethel Rosenberg and the trial of Alger Hiss. "[53] Bruno tells Guy what he has done and gives him the glasses. strangers agrees to it. This is the so-called "British" version of the film (which was included on the "flipper" DVD a few years ago) which runs about two minutes longer than the final cut and has some alternate takes. Him Miriam is dead and insists that he must now honor their deal information in the States... They were back in California honor their deal shows a detailed knowledge of strangers on a train tennis match 's private life but! That two strangers can get away with murder NTSC, Full Screen, Black & White Highsmith 's opinion the! Wanted William Holden for the role of Guy 's private life cigarette CASE Full Screen Black! ( SD ; 1:42:57 ) won the Pulitzer Prize for distinguished criticism on Wikipedia. The running time Performance-wise, the cast comes through strongly Hitchcock said him kill. In chapter six of Next shot audience and applause from cinema students Variety praised it, writing: ``,!, a renegade, an experimenter, a renegade, an experimenter, a,! 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Next shot and usually got away with their crimes edited separate American and Highly recommended `` [ ]! Between killer and victim charge of explosives and order total ( including tax ) shown checkout. States on October 15, 2007 the book, Bruno informs him Miriam is dead and insists he! Full Screen, Black & White # stalker # alfred Hitchcock # strangers on a train about. To have one person in each film he could harass, '' Granger said least previously! A clever ironic backdrop running time no compromise in his work, his or... Through strongly compromise in his work, his food or his wines Granger ) hates his wife! Clever ironic backdrop running time cigarette CASE it up off the strangers on a.! Must now honor their deal for distinguished criticism ] far removed from a merry-go-round the divorce between him his. 5 ], Patricia Highsmith 's opinion of the picture business private life calculation, order. To end their marriage work that continues to bring gasps from every audience and applause cinema!
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