The viewer usually just prefers sitting on his seat, enjoying the ride - and it is exactly this where lies Hitchcock's sheer mastery and macabre thought, which often seems to be close to misanthropy.
Although I am sure that one can immerse into the poetic world of the film without accepting Hitchcock's ethics, this doesn't make it any less vital, quite on the contrary, because Hitchcock's films' cruel world view always includes us, the audience, making it even harder to accept. Instead, it was transferred in 1952 from the British War Office film vaults to Londons Imperial War Museum and remained unreleased until 1985, when an edited. No one would ever accuse Alfred Hitchcocks Shadow of a Doubt of being plausible, but it is framed so distinctively in the Hitchcock style that it plays firmly and never breaks out of the story. It is precisely metaphysical, as the Cuban critic Guillermo Cabrera Infante once suggested, and always connected to the director's cynical philosophy. First and foremost, Strangers on a Train entices the viewer with its gripping atmosphere, but, as usual, the suspense is never mere suspense in its physical meaning for Hitchcock. Alfred Hitchcock often approached the theme of human and moral dichotomy through dialectical means to present reality in his films, but never as visually as in Strangers on a Train (1951) which is one of his most celebrated works.