Man purposely drops a gambling square down a woman’s low-cut dress while seated at the roulette wheel. Woman propositions a man to run away with her.
A few bits of suggestive dialogue.
Man and woman kiss passionately several times.


Film review:Translated by www.rabudo-ru.com


Five years after working with Ingrid Bergman on his last work, under Capricorn (1949), Hitchcock found his perfect heroine Grace Kelly through an audition for a volume of abandoned advertisements in 1950.

Kelly’s legendary life is an endless topic for fans. In addition to the appearance and height that meet Hitchcock’s hard standards, Kelly’s calm and elegant personality makes Hitchcock careless. Edith head, a well-known fashion designer who has served many films for Hitchcock, once said: “even the stars who look perfect on the screen have something to hide. Everyone is, except grace.”

Hitchcock’s evaluation of her is: gentle, but full of great explosive force, like the untouched Olympian iceberg, under which there is infinite fire and heat.

Kelly’s first Hitchcock film was “Dial M for murder (1954). At that time, she was just an unknown actress with a pay of only $14000. The whole film is a cost-effective work with ingenious layout and strict logic, but Hitchcock doesn’t like it. He once told Fran ç OIS Truffaut that the film can be skipped because there is nothing to say.

Perhaps the greatest significance of “telephone murder” to Hitchcock is to find the heroine in his dream.

Hitchcock prefers female images with cold and beautiful appearance and hot heart all his life. Ingrid Bergman and Grace Kelly are both of this type. Hitchcock said Kelly was “a cold blonde on the outside, but lustful in the heart”.

It is difficult for the audience to associate the noble and elegant Kelly with “lust”, but it is more appropriate to describe Kelly in life. It is said that Kelly interacted with several men at the same time and slept with almost all the actors in the opposite play, except James Stewart and Cary Grant.

Hitchcock was very excited when he learned Kelly’s “romantic history”: “great grace! She sleeps with everyone!”

Hitchcock always remembered an incident when he first came into contact with Kelly. Once he introduced himself to the visitors on the set: “call me Hitchcock, not Kirk.”—— Hitchcock has a slight aversion to his name. He has said many times that it is best to remove the “cock” (male genitalia) in his name. He claims to like others to call him “hitch” all his life.

Many people on the set laughed. Hitchcock noticed that Kelly was nearby, so he prepared to apologize. Unexpectedly, Kelly stopped him: “don’t worry, I went to a Catholic women’s school. I’ve heard everything since I was 13.” Years later, Hitchcock recalled Kelly. He said, “Grace Kelly has a great sense of humor, just a little yellow.”

Hitchcock’s love for Kelly is projected into his works, which makes the films in the “Kelly period” unconventional, unlike Joan Fontaine tortured by fantasy in Rebecca (1940) and Ingrid Bowman dominated by men in notorieous (1946), Or the frightened and tortured Tippi Hedren in the birds (1963), grace in Hitchcock’s lens is so calm and elegant, witty and decisive, brave to pursue men and always get what she wants.

After working together on the phone murder, Hitchcock began to try his best to create a role for Kelly and infinitely enlarge his fascination with her with film.

Although the protagonist of rear window (1954) is James Stewart, Kelly is the promoter and solver of the event. Watching the back window, you can feel Hitchcock’s love for Kelly. In the scene of Kelly’s appearance, Kelly’s close-up occupies the center of the screen. It’s breathtaking. She leaned down close to the camera and gave the hero in the wheelchair a deep kiss.

On the screen, the two people’s faces account for half, and the camera language emphasizes Kelly’s important position and personality – she is strong and aggressive, and actively pursues the man who doesn’t want to marry her. There is a scene behind. Kelly sits on Stewart and they hug and kiss. Kelly asks him, “what can a girl do to impress you?” “Pay attention to me… I want your heart, I want all of you.” They kissed off and on for a minute and a half. There was another scene, also kissing and talking, which lasted 46 seconds.

In the 1940s, Hitchcock replaced himself with Gary grant and had close contact with his beloved Bergman on the screen. Hitchcock is now 50 years old, and his state of mind has changed from fantasy perfection to broken and decadent, so his on-screen double has become a crippled man with no strength to bind chickens.

The back window is still shooting, and Hitchcock is already creating to catch a thief (1955) for Kelly. This is a naive and humorous film. The witty Kelly once again won love while solving the mystery and became the biggest winner in the film. Among them, the “clothing show” is not inferior to the “rear window”. The pink sleeveless suit sets off Kelly’s elegance and sweetness incomparably.

Kelly in the film tends to be more perfect, beautiful, rich, noble and bold than in the back window. When “catch the thief” was released, Hitchcock said proudly: “the kiss in the corridor is like she zipped his pants. The fireworks are the orgasm, and Grace’s role is the burning ice.”

However, taking Kelly to Monaco for filming has become the most regretful thing in Hitchcock’s life. Kelly fell in love with the prince of Monaco and soon married the royal family.

When filming birds in 1963, Kelly was the first choice for the heroine, but the Monegasque people had always opposed it. Therefore, Tibby Hedley, who was still shooting advertisements at that time, had to be used.

The following year, in preparation for the production of the erotic thief (Marnie, 1964), Hitchcock once again invited Kelly. However, the people of Monaco could not allow the princess to play a thief. Hitchcock’s previous films were also banned by Prince Rainey.

The loss and unwillingness to lose the perfect Muse are more or less reflected in Hitchcock’s later works. Kelly was still in Hollywood when filming the man who knew too much (1956). The heroines of the following three works – vertigo (1958), north by Northwest (1959) and psycho (1960) – are very different from Kelly’s characters. Although they are beautiful blondes, smart, scheming, they all fail, or are conquered by men, or die.

When filming the birds, Hitchcock intended to make Tibby Hedley the next grace, but his possessive desire for the star he trained was too strong, and Heidi’s feelings for Hitchcock changed from gratitude to hatred. The tormented relationship finally broke up.

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