English 345 Blog #2 (Strangers on a Train)

Let’s consider a sharp contrast in Strangers on a Train (1951).  Miriam Haines as “femme fatale” in opposition to the Senator’s daughter, Anne Morton.  What do you think the opposition says about gender and genre in the 1950s?  Furthermore, what’s implied by the resolution of the story?  Is Hitchcock participating in a type of normative construction of gender, challenging it, simply following genre conventions?  Explain.