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I love The Seventh Seal for being one of Bergman's most-audacious, blending iconic imagery of death with some wicked black comedy. For those who don't get this era Bergman (especially this and Wild Strawberries), I'll post again Da Duva and hope somebody responds this time.
I also didn't have Murder on my list, but it's excellent.
But hey, I did have another Hitch which didn't make it but was my #18.
My List
1. Alice in Wonderland (#27)
2. The Quiet Man (#51)
4. Room at the Top (#73)
8. The Caine Mutiny (#80)
14. People Will Talk (#88)
17. A Streetcar Named Desire (#19)
18. The Trouble with Harry (Did Not Place)
19. Night and Fog (#54)
21. Oklahoma! (#97)
23. Guys and Dolls (Did Not Place)
24. The Big Country (#66)
I also didn't have Murder on my list, but it's excellent.
Dial M For Murder (Alfred Hitchcock, 1954)
Originally filmed and projected in theatres in 3-D, this Hitchcock classic, on DVD, still looks like it's almost presented in that format. Hitch expands on the one-set concept he used in Rope and perfected in Rear Window to ratchet up the tension in this thriller based on Frederick Knott's popular play. Part of Dimitri Tiomkin's musical score evokes what Bernard Herrmann used in 1958's Vertigo, and the plot device of taking advantage of an old college chum was used in that later film too. Ray Milland plays an retired tennis pro (remind anyone of Strangers on a Train?) who decides he'd rather inherit his wife's money than play the cuckold for her. The wife is the gorgeous Grace Kelly (Rear Window, To Catch a Thief) and her lover is mystery novelist Robert Cummings (Saboteur). The other two major characters are the "chum" (Anthony Dawson) who's "hired" to do the murder, and the dogged police detective (a witty John Williams) who tries to unravel the aftermath. Dial M For Murder is solid entertainment which intensifies as it progresses and is highly recommended to any who haven't seen it.
Originally filmed and projected in theatres in 3-D, this Hitchcock classic, on DVD, still looks like it's almost presented in that format. Hitch expands on the one-set concept he used in Rope and perfected in Rear Window to ratchet up the tension in this thriller based on Frederick Knott's popular play. Part of Dimitri Tiomkin's musical score evokes what Bernard Herrmann used in 1958's Vertigo, and the plot device of taking advantage of an old college chum was used in that later film too. Ray Milland plays an retired tennis pro (remind anyone of Strangers on a Train?) who decides he'd rather inherit his wife's money than play the cuckold for her. The wife is the gorgeous Grace Kelly (Rear Window, To Catch a Thief) and her lover is mystery novelist Robert Cummings (Saboteur). The other two major characters are the "chum" (Anthony Dawson) who's "hired" to do the murder, and the dogged police detective (a witty John Williams) who tries to unravel the aftermath. Dial M For Murder is solid entertainment which intensifies as it progresses and is highly recommended to any who haven't seen it.
The Trouble with Harry (Alfred Hitchcock, 1955) +
Hitch gleefully spins a tale about a dead body that almost everybody believes was personally killed by them and gets buried and unburied over and over. Yes, the film is a black comedy, but it does have plenty of trademark Hitchcock suspense as well as some of the funniest dialogue you'll ever hear. It takes place in New England during the fall, and Brenda and I both agree that it's probably the film which most resembles what our honeymoon looked like with all those striking autumnal colors. I don't want to get into too many details, but Harry causes trouble for an elderly hunter (Edmund Gwenn), a spinster (Mildred Natwick) who likes him, a painter (John Forsythe) with a devilish tongue, and a pretty young mother (Shirley MacLaine). This is not only the first Hitchcock film with a Bernard Herrmann score, but it's also MacLaine's film debut and an early flick for the boy (Jerry Mathers, the Beave from "Leave it to Beaver") who plays her son and steals all his scenes. It may take just a little bit to really get going, but this film is generally underrated in the Hitchcock oeurve.
Hitch gleefully spins a tale about a dead body that almost everybody believes was personally killed by them and gets buried and unburied over and over. Yes, the film is a black comedy, but it does have plenty of trademark Hitchcock suspense as well as some of the funniest dialogue you'll ever hear. It takes place in New England during the fall, and Brenda and I both agree that it's probably the film which most resembles what our honeymoon looked like with all those striking autumnal colors. I don't want to get into too many details, but Harry causes trouble for an elderly hunter (Edmund Gwenn), a spinster (Mildred Natwick) who likes him, a painter (John Forsythe) with a devilish tongue, and a pretty young mother (Shirley MacLaine). This is not only the first Hitchcock film with a Bernard Herrmann score, but it's also MacLaine's film debut and an early flick for the boy (Jerry Mathers, the Beave from "Leave it to Beaver") who plays her son and steals all his scenes. It may take just a little bit to really get going, but this film is generally underrated in the Hitchcock oeurve.
1. Alice in Wonderland (#27)
2. The Quiet Man (#51)
4. Room at the Top (#73)
8. The Caine Mutiny (#80)
14. People Will Talk (#88)
17. A Streetcar Named Desire (#19)
18. The Trouble with Harry (Did Not Place)
19. Night and Fog (#54)
21. Oklahoma! (#97)
23. Guys and Dolls (Did Not Place)
24. The Big Country (#66)
__________________
It's what you learn after you know it all that counts. - John Wooden
My IMDb page
It's what you learn after you know it all that counts. - John Wooden
My IMDb page
Bohoo
that's the last one of mine to show up. 