Word: hitchcock
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Dates: during 1950-1959
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Restraint & Control. M-G-M still seemed uncertain about what to do with her. But Alfred Hitchcock, also impressed by the Taxi test, snapped her up for Dial M for Murder, then for Rear Window...
...Says Hitchcock: "From the Taxi test, you could see Grace's potential for restraint...
...adds: "Grace doesn't throw everything at you in the first five seconds. Some girls give you everything they've got at once, and there it is-there is no more. But Grace is like a kaleidoscope: one twist, and you get a whole new facet." Under Hitchcock's expert direction, Grace bloomed in Rear Window. As a sleek young career girl, she distilled a tingling essence of what Hitchcock has called "sexual elegance." She was learning her trade. The way she walked, spoke and combed her hair had a sureness that gives moviegoers a comfortable feeling...
More serious damage results from some horse-opera touches near the end of the film. After Romeo's return to Verona, Castellani indulges in some Hitchcock camera work on the theme, "Will Romeo run into Friar Laurence, thus saving the day?" Laurence, of course, wanders out the back door of the cathedral just as Romeo arrives at the front. There is a good deal more puffing and groaning than necessary, too, while Romeo forces his way into the vault with a broken candlestick which he had to run all the way back to the church...
...Waterfront, Brando got the nod from the New York Film Critics, Film Daily and the Hollywood stars themselves, who were polled by the United Press. Newcomer Grace Kelly, who smoothly dressed up Rear Window, Dial M for Murder and Green Fire (see below} with what Director Alfred Hitchcock has called her "sexual elegance," but who performed most stunningly in her biggest acting part as the embittered wife in The Country Girl, won hands up with the New York Film Critics, and the National Board of Review...