Are merry-go-rounds capable of speeding up the way the one in Hitchcock’s Strangers on a Train (1951) does? Were they in the 1950s? I don’t know, but I suspect Hitchcock thought he had a better story than he did in this fascinating thriller. However spotty the plot, though, Strangers is a terrific directorial achievement with some great things done with eyeglasses and Robert Walker’s pathology. Laura Elliott is vividly good as naughty Miriam.