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The story about two total strangers meeting on a train and swapping a murder simply had not been in 1951 and Hitchcock’s superb filmmaking earns high marks yet again. The amazing use of dutch camera angles, tilt shots, and shadows successfully pulls off the film noir feel of the film. There are many different scenes in the film where the lighting is particularly meaningful or effective to heighten the suspense, such as in the tunnel and the moving shadows, the bars of shadows on the faces of Bruno and Guy, and the surprise of Bruno emerging for the bed when he flips on the light. All of these examples as well as many others work quite well in the feeling and mood of the film. The first example of the well thoug