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ANNOUNCING NOTEBOOK CONTEST #2, in which readers are asked to consider the new Alfred Hitchcock postage stamp, shown here, and then design a stamp, depicting some current figure or event, that the Postal Service might reasonably issue in the year 2050. Fax your entry to (212) 467-1010, e-mail it to Letters@time.com or mail it to TIME Notebook Contest #2, Room 2321B, Time & Life Building, New York...
...good news is that focusing on quality pays off, as heart surgeons at the Dartmouth-Hitchcock Medical Center in Lebanon, N.H., have demonstrated. They started by surveying all their colleagues in the surrounding area and following up with their patients. Then they developed procedural standards that cut mortality from cardiac operations 24% from 1991 to 1996. Moreover, they cut costs 20% and boosted both patient and doctor satisfaction. A home run by anyone's measure...
...noir into the fear and loathing at the heart of Washington, D.C. The Getaway (1972). Noir cinema reaches its apotheosis with Peckinpah's rendering of Jim Thompson. Throw in the coolest white man ever (Steve McQueen) and you've got a scorcher. Rear Window (1954). Well, actually, the whole Hitchcock canon, actually, but my pick is Jimmy Stewart and Grace Kelly. Down By Law (1986). Jim Jarmusch's extended character study (incorporating a few digs at Hollywood convention) is probably the funniest American movie ever made. Rebel Without a Cause (1955). The cinematic codification of the obsession with youth that...
...much Lean? Never. 5. The Third Man (1949). Orson Welles gets best entrance -- but you knew that. What puts this film over the top is the final, parting shot of Joseph Cotten on the road. Sooo good, you retch a little. 6. Foreign Correspondent (1940). Vintage controlled Hitchcock: clean lines, great plot and arresting images like the oft-copied black umbrella scene. 7. Laura (1944). Queen of the noirs. Don't get me started on Gene Tierney. 8. Cool Hand Luke (1967). It is impossible to see this movie too many times. And if you are the right kind...
...this is still too oblique or elliptical you may wish to refer to the ending of Alfred Hitchcock's Foreign Correspondent, when the lights go out in the radio studio during the Blitz and Joel McCrea calls into the mike, "Hello, America. Hang onto your lights. They're the only lights left in the world...