Criss-Cross: The Making of Hitchcock's Dazzling, Subversive Masterpiece Strangers on a Train

by Stephen Rebello

Take a deep dive into the shadows and light of one of the most subversive, corrosively funny, and beloved suspense thriller masterworks as author Stephen Rebello unravels for the very first time the tense and drama-filled story of the making Alfred Hitchcock's Strangers on a Train. 

As entertaining as it is to watch Strangers on a Train, so too is the previously untold backstory that packs all the suspense, drama, and twists of a thriller. After all, what are the hallmarks of a great Hitchcock movie? A larger-than-life, complex cast of characters, each with something to prove, lose, or hide. Check. Tremendous risk, outsized conflict, and emotion as those men and women confront challenges off the set. Check. Feuds, deceptions, unlikely alliances, and double-crosses. Check. Coming off a 5-year-string of flops, Alfred Hitchcock gambled big on adapting Patricia Highsmith's debut novel, which critics called  “preposterous” and “unconvincing," in addition to “unsavory,” and “sick” (1950s code words for “gay” and “perverted”). Each step of the production was fraught with battles, but Hitchcock masterfully stayed two steps ahead of his opponents as he fought to bring his vision to life. Strangers on a Train became not only a creative high-water mark and box-office smash for Hitchcock, but also kicked off his unmatched decade of classics including Dial M for Murder, Rear Window, Vertigo, North by Northwest, and Psycho.   

Richly documented, meticulously researched, and stylishly written, Criss-Cross is more than an authoritative film book. It is a portrait of an especially politically paranoid, misogynistic, and homophobic era in America, a time of dramatic transition in the entertainment industry, and a day of reckoning for Alfred Hitchcock and a few other talents with whom he made a dark, resonant, and prescient work of art.  

Genres: Film, Nonfiction, Media Tie In, History

292 pages, Kindle Edition

Published September 16, 2025

About the author

Stephen Rebello is a screenwriter, journalist, and the author of such books as Reel Art: Great Posters from the Golden Age of the Silver Screen, which was honored by the Academy of Motion Picture Arts and Sciences in 1999. Based in Los Angeles, he has contributed feature stories to such magazines as Cosmopolitan, GQ, More, and The Advocate, and currently serves as a Playboy contributing editor. Stephen Rebello adapted for the screen Alfred Hitchcock and the Making of Psycho as the basis of Hitchcock, the Fox Searchlight dramatic feature motion picture starring Anthony Hopkins, Helen Mirren, Scarlett Johansson, Jessica Biel, Toni Collette, James D’Arcy, Danny Huston, Ralph Macchio, and Michael Wincott.

Reviews

[Michael Schramm · Rating 5 out of 5]

In general, it’s is a given that if one picks up a book on the making of a favorite film (“Strangers on a Train”), he or she is bound to rate it highly just on the sheer interest factor alone. In this case, Stephen Rebello, author of a earlier book on the making of Alfred Hitchcock’s 1960 classic, “Psycho”, I found the book to be very well researched, offering many behind the scenes insights into the detailed production of a film that launched a highly revered period of film classics by the director lasting from approximately 1951-1963.

Prior to diving into the book, I was not aware that Hitchcock struggled to return to the glory he achieved a full five years prior with the equally solid film “Shadow of a Doubt” (1946). The book also delves deeply into the roles and livelihood of the principal characters (Ruth Roman, Farley Granger and especially Robert Walker) and highlights the near obsession Hitchcock showcased in turning Patricia Highsmith’s novel into the now classic suspense thriller that has endured for nearly 75 years. While critics referred to the book as “preposterous”, “unsavory” and “unconvincing”, the director never wavered from his passion to turn a tepidly received novel into one where he envisioned several thrilling set pieces, culminating in a heart stopping climax involving a protracted struggle between protagonist and antagonist on a whirling merry-go-round of death.

Several behind the scenes and publicity images and detailed appendices describing in great detail scripting/dialog never realized round out this fascinating book.

[Mark]

When writing about the making of one movie, authors have to position themselves between two poles: emphasize context (Glenn Frankel is the master here) or emphasize the day-to-day process of making the film. The books that emphasizing context have a better chance of reaching the general reader, whereas books in the latter category are for fans. Stephen Rebello's interesting account of the making of Strangers on a Train is definitely in the latter category.

As a huge fan of this movie, I definitely enjoyed this account. I strongly concur with Rebello's opinion that Strangers on a Train deserves to be regarded as among Hitchock's best, and I think it makes the best first Hitchcock movie for those youngsters unfamiliar with his work. I particularly enjoyed the discussion of censorship and the items the censors didn't (or chose not to) notice. The discussion of the screenplay was a little more detailed than I thought necessary (thankfully more material is left for an appendix), but the mutual antagonism between Raymond Chandler and Alfred Hitchock was amusing.

Rebello correctly emphasizes Robert Walker's performance as the villain Bruno as the lynchpin of the movie, and I certainly enjoyed reading about him. Sadly, he died shortly after the film was released so this did not ended up being the career reboot that many had hoped for.

Thanks to Running Press and Netgalley for providing a copy for early review.

[Glenn · Rating 4 out of 5]

Often engaging, at times detailed to a fault, ultimately very useful and worthwhile. Note to the editor of the hopefully in-store paperback edition: "Moulin Rouge" stars Jose Ferrer, not Mel Ferrer (no relation).

[Dan · Rating 4 out of 5]

My thanks to NetGalley and Running Press for an advance copy of this history that tells the story of an Alfred Hitchcock's movie that has gained an appreciation over the years for both its style and story, with behind the scenes tales, casting woes, and of course studio interference.

My nephews have problems understanding the fact that there was a time when watching movies was a roll of the dice. I grew up in the time of video stores, but being in a small town with two video stores, both were more interested in having extra copies of Romancing the Stone or Back to the Future, than classic movies. This came to be a problem after I watched Throw Mama from the Train, a movie that was inspired, and even name checked a classic movie as its influence, Strangers on a Train. My father wax poetics about the film, I think he got some facts wrong, but I got the gist, and wanted to see it. None of our video stores had much Hitchcock though, so I was a little out of luck. Thanks to Channel Nine in New York running a double feature I finally saw it, and was pretty surprised how good it was. Watching it now I see much more that my naivete missed, and how much Hitchcock was able to get past the studios and the censors. A movie that holds up now, better than most movies about obsession and murder. And with this book we can get an understanding of how hard it was to craft the film. Criss-Cross: The Making of Hitchcock’s Dazzling, Subversive Masterpiece Strangers on a Train by Stephen Rebello is a telling of the movie from idea to finished film, detailing the making of, the special effects, casting woes, studio games, and its legacy.

The book begins with an appreciation for the movie by the author, and why Rebello considers this one of Hitchcock's best works, and why. The movie than moves to a a director at career low point. Alfred Hitchcock's last movies had not done well. Hitchcock was also at Warner Bros studios, run by Jack Warner, who was super hands on, very rude, and very cheap. Hitchcock needed an idea, something that he could craft into another hit, just to remind Hollywood who Hitchcock was. And he found it in a debut thriller by a young author Patricia Highsmith. The book was a story about two men meeting on a train who share an idea about how to commit, the perfect crime. Hitchcock loved the idea, but had problems finding a writer to adapt it. Hitchcock thought he has a collaborator in Raymond Chandler, the famed mystery writer, until they started to work together. That was only some of Hitchcock's problems. Casting was a problem, with many actors not wanting to take on such a well less manly role, along with Warner Bros. demanding certain roles go to their salaried performers. Things came together, and soon the movie was filming, and the rest is cinema history.

This is the second book by Rebello dealing with Hitchcock I have read and I enjoyed this quite a lot. Rebello has a very good writing style, sharing personal reflections on the movie with critiques from others, and moves the narrative along. The book is loaded with stories from the set, stories about developing the script with Raymond Chandler, who was a nightmare. And lot about the performers and what they brought to the movie. Rebello goes into the creatin of some big scenes, detailing how shots were made, and how the could have gone wrong. Each page had fresh information, or something new about Hitchcock, or what was happening in the movies at the time. A very educational and fun read.

Perfect for fans of old movies, people who love to read about movies before CGI, and for fans of Hitchcock. Rebello has done a few books about movies and their creation, and I have enjoyed them all. I can't wait to read what he publishes next.

[Jeffrey Powanda · Rating 4 out of 5]

An entertaining and informative account of the making of Alfred Hitchcock's 1951 thriller Strangers on a Train, which is loosely based on Patricia Highsmith's debut novel. Rebello's book supplies many inside details about development of the script (by three different writers, including legend Raymond Chandler), the intricate storyboards (by Ted Haworth), the dynamic music score (by Dimitri Tiomkin), the innovative sharp-focus camera work (by Robert Burks), and the sophisticated editing (by William Ziegler). Hitchcock had perfected his moviemaking process and found some of his most trusted collaborators. (Hitchcock would later partner with composer Bernard Hermann on The Trouble with Harry (1955) and several subsequent movies.)

I read the book in a couple days, and then rewatched the movie (which is available for free on Tubi). The story concerns two men, Bruno and Guy, who meet on a train. Over lunch, Bruno, a psychopath, suggests they swap murders; Bruno could murder Guy’s adulterous wife, and Guy could murder Bruno’s domineering father. The murder swap plot isn't as interesting or as daring as the gay subtext, an apparent obsession of Hitchcock's [which is what attracted him to Rope (1948)]. On this latest viewing, I found the movie completely silly (I kept screaming, "Just call the police!") but it's also visually stunning (particularly the murder scene reflected on the lens of a fallen pair of eyeglasses). Despite the movie's implausibility, it's still wildly entertaining, and Robert Walker's performance as psychopath Bruno Antony is mesmerizing. Sadly, it was the last movie Walker completed; he died of an accidental overdose (administered by his psychiatrist) a few weeks after the movie's release.

[Sean Wicks · Rating 5 out of 5]

Author Stephen Rebello who penned Alfred Hitchcock and the Making of Psycho> (which was adapted into the 2012 Hitchcock starring Anthony Hopkins and Hellen Mirren) tackles another Hitchcock classic film, this time Strangers on a Train. As with the previous tome, this covers the development, production and post-release of the film, covering every angle from the writers, the actors, the situation with the studio and the director himself. As with Rebello's previous books, it's a very straightforward coverage of the film's making, while not delving too much into overt drama or gossip, it covers the factual record making for a solid and engaging read. Makes me want to rewatch the film (which I will likely do tonight).

[Emily Edwards · Rating 5 out of 5]

A comprehensive and lighthearted discussion on STRANGERS ON A TRAIN, one of Hitchcock's less flashy but ever-prescient suspense films. From the industry's perception on the original novel (Highsmith is considered a classic *now*, but back then, far less so!) to its suitability for screen (read: not at all), this is a wonderful narrative on how one of Hitch's most flawless films (in my opinion) came to life. A must read for anyone who loves suspense fiction and film.

Thanks for the pre-published copy from Running Press on NetGalley.

[James V. Mahon · Rating 5 out of 5]

Almost 3/4 finished and I am truly enjoying Stephen Rebellious newest work regarding the creative process involved in the making of Hitchcock's STRANGERS ON A TRAIN. With the same lucid, clear and accessible writing style he showed us in ALGRED HITCHCOCK AND THE MAKING OF PSYCHO, he takes us on a journey behind the scenes of this suspense film from the '50's!
The plethora of information as well as the ever so accessible writing style makes this a work for Hitchcock scholars as well as for the casual reader interested in the master of suspense's works!

[Matt · Rating 3 out of 5]

3.5 stars

[John Schorg · Rating 3 out of 5]

Sometimes it gets a little too thick with detail - particularly in a chapter about the film's music - but this book achieves its primary function: It makes you want to see Strangers on a Train.

[Kyle · Rating 3 out of 5]

Great movie. Not sure every film needs a tell-all book about how it was made.

[Lysa · Rating 2 out of 5]

DNF @ 16% -- The author somehow managed to make a book about an amazing, interesting film incredibly boring.

[Eric · Rating 4 out of 5]

I thoroughly enjoyed Stephen Rebello’s detailed, entertaining making-of chronicle Criss-Cross (September; Running Press), which has the unwieldy subtitle The Making of Hitchcock’s Dazzling, Subversive Masterpiece ‘Strangers on a Train.’ It was Mr. Rebello’s Alfred Hitchcock and the Making of ‘Psycho’ (1990) which, for my money, revolutionized the way critics and film historians approached making-of narratives, digging underneath the promotional wall studios generally offered and taking a serious dive into the sources and methods behind a single classic film. It had been done before with a handful of movies (mostly by another recommended writer Aljean Harmetz), but not with such a notorious and controversial film. Since 1990 we’ve been inundated with making-of tomes, especially concerning Hitchcock’s later oeuvre, not all of them as exciting or enlightening as Rebello’s. There aren’t many films which had the impact on world cinema that Psycho had.

Curiously, no one has thought of looking deeper into Strangers on a Train (1951) before now, perhaps because we’ve all been taking its classical brilliance for granted but, happily, Rebello has stepped in and corrected that for us, making as good a case as I’ve ever seen for regarding the film as one of Hitchcock’s greatest. It was a do-or-die project for the producer-director, whose box-office clout was at the lowest ebb of his career; it starred a once-promising young actor, Robert Walker, now sick with alcoholism, throwing himself into a role that became one of the great portraits of homicidal psychosis in the Hitchcock canon; and it was written almost entirely without the help of its top-billed screenwriter Raymond Chandler, whose name was left on the credits purely for its recognition factor.

This is the kind of backstage drama at which Rebello excels, making his Criss-Cross a highly recommended read whether or not you’re a dedicated cinephile.