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108 Minutes | Crime, Drama | 1954-06-22
📥 On the Waterfront 1954
📥 DOWNLOAD HERE
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207 Minutes | Action, Drama | 1954-04-26
📥 Seven Samurai 1954
📥 DOWNLOAD HERE
Fantastic movie with a great touch of reality.
Watch Movies Online|Full Movie Download|Movies Online Free Websites|Movies Online Stream|Online Full HD Movies. Watch and streaming your favorite full movies online on solarmovie.com and in the app!
207 Minutes | Action, Drama | 1954-04-26
📥 Seven Samurai 1954
📥 DOWNLOAD HERE
Fantastic movie with a great touch of reality.
Watch Movies Online|Full Movie Download|Movies Online Free Websites|Movies Online Stream|Online Full HD Movies. Watch and streaming your favorite full movies online on solarmovie.com and in the app!
105 Minutes | Crime, Thriller | 1954-05-29
📥 Dial M for Murder 1954
📥 DOWNLOAD HERE
I used to consider this second-tier Hitchcock, but a re-watch proved to me just how excellent the script and directing were, as well as how stellar and underrated both Grace Kelly and Ray Milland tend to be, at least presently, three generations after the fact. The suspense is tied tighter than the proverbial drum.
Needless to say, to this day, I never keep scissors on top of my desk anymore...
No, I'm afraid my murders would be something like my bridge: I'd make some stupid mistake and never realize it until I found everybody was looking at me.
Middle tier Hitchcock it may be, by his own admission, but it's still one of the finest mystery thrillers around. Ray Milland plays Tony Wendice, a former tennis player married to Grace Kelly's Margot, who is the source of his wealth. Fearing his lifestyle is about to come to an end due to her dalliances with American mystery writer, Mark Halliday (Robert Cummins), Tony hatches a plan to have her murdered by an old acquaintance whom he has over a barrel with blackmail. However, the plan backfires and a whole new strategy is needed to save Tony from suspicion.
Based on the popular and successful play by Frederick Knott (who adapts for the screenplay here), Dial M For Murder was a film Hitchcock had little time for. In fact, having already started work on Rear Window, Hitch treated Dial M For Murder as a jobbing assignment. His mood was further darkened by Jack Warner's insistence that the film be shot in 3D, with all the camera restraints that such a production brings. Perhaps unsurprisingly though, the restraints and general mood of the director brought about very pleasing results. Choosing to go for a claustrophobic single set shoot, Hitchcock resisted the urge to launch things around for 3D effects, instead he used the process to highlight props and angles of the Wendice home. His use of colours here first rate, particularly around his new found favourite actress, Grace Kelly.
Having never seen the 3D version (who has I wonder?) I can't say what impact, if any, the gimmick had. But regardless of Hitch's grumblings and general disdain towards the film, he rose to the challenge by challenging himself and actually produced a fine and technically sound picture. Ray Milland is icy cold yet debonair, while John Williams as Chief Inspector Hubbard strides in and walks off with the film. Kelly is adequate enough, it's her least effective turn for Hitch, so early in her career, she was a bit free with her physical love on the set (source "A Life in Darkness and Light"), but this highly appealed to (and amused) Hitch and he of course would use her for better rewards post this production. Sadly Cummings is awfully bland and threatens to lose the film momentum when things start to spice up in the last quarter.
Hugely entertaining picture though, one that is ripe with characterisations and of much interest to Hitchcock purists in how he works around the 3D format for his own filmic senses, Dial M For Murder holds up well today as a disquieting mystery thriller. 8/10
Just with a glance at the cast list and the knowledge that it's directed by the legendary film-making genius Alfred Hitchcock, you know it's going to be good. This taut, nicely-done thriller was originally filmed in 3D, though I wouldn't say it's any less effective when viewed normally. Ray Milland and Grace Kelly are both very accomplished actors, and are very enjoyable here. Watch for John Williams as Inspector Hubbard from Scotland Yard; he's like a British Columbo! The story moves along at a good clip, with interesting dialogue and good twists. Watch out for that lethal pair of scissors!
While this is not one of the most popular Alfred Hitchcock films out there, it is still brilliant.
You can immediately recognise this film has Sir Alfred Hitchcock’s signature on it from the way the film is shot and its story is told.
I did not know anything about the film before I started watching it and I am glad I did it. There were plenty of surprises to see me going to the end of the film.
Would I watch it again? Possibly. Would I make my friends watch it? Definitely.
Watch Movies Online|Full Movie Download|Movies Online Free Websites|Movies Online Stream|Online Full HD Movies. Watch and streaming your favorite full movies online on solarmovie.com and in the app!
112 Minutes | Drama, Mystery, Thriller | 1954-09-01
📥 Rear Window 1954
📥 DOWNLOAD HERE
L.B. Jeffries (Jimmy Stewart), an adventurous photographer, is temporarily immobilized by a serious leg injury. Bored, and living in a time where TV and internet were not available as distractions, he watches the courtyard out his real window and speculates about the lives of the neighbors that he sees. In particular, he wonders whether his neighbor Thorvald (Raymond Burr, who actually looks older than his later character Perry Mason) may have killed his wife.
Hitchcock examines the situation from numerous points of view. At one extreme, Jeff could be considered a brilliant detective who sleuths out a case based purely on close observation. At the other end, he could be considered a voyeur and a paranoid whose suspicions could damage other people. These interpretations are voiced by his acquaintances, including his nurse (Thelma Ritter) and his fiance (Grace Kelly, the future Princess Grace of Monaco). In the end physical evidence is found that settles the Thorvald case but leaves Jeff's motivation still in question.
Hitchcock takes advantage of the situation to introduce numerous subplots -- but they're MINIMALIST subplots, where the audience only sees what Jeff sees from his window. (Mild spoilers follow) Newlyweds quarrel, a depressed woman considers suicide but is rescued by a neighbor; a sexy girl ("Miss Torso") turns out to be not a party girl but devoted to an absent boyfriend.
An entertaining thing about this movie is that we have numerous actors -- Stewart, Kelly, and Burr -- who are to become more famous for later movies and incidents.
It Had To Be Murder.
L.B. Jefferies is a wheelchair bound photographer who by way of relieving his boredom, starts observing the lives of all his neighbours from his apartment window. As he gets deeper into the lives of all around him, he becomes convinced that one of hem has committed the act of murder, thus putting himself and those close to him in mortal danger.
Much like most of Alfred Hitchcock's other lauded pictures, Rear Window has been dissected, examined, appraised and written about by far more versed people than myself, a mere film fanatic. So how do I even start to write a review of a film that I view as one of Hitchcock's best? Well maybe I should just write what I like about it without delving into psycho babble and a deconstruction of the human psyche and all its little offshoots! So I will!.
Rear Window is adapted by Alfred Hitchcock and his writer John Michael Hayes, from the Cornell Woolrich story called It Had To Be Murder/Murder From A Fixed Viewpoint. The film of course forces us the viewers to become voyeurs, watching a newly hooked voyeur go about his business. Quite a neat trick from Hitchcock, and one can reasonably assume that the maestro director was chuckling with glee within his genius girth.
Working from the confines of a single set, Hitchcock has molded a suspenseful, intriguing, cheeky and sexy picture, with a top line cast giving the smart screenplay the performances it deserved. What is often forgot by those more concerned with the psychological aspects of Rear Window is the blatant irony of L.B. Jefferies situation, his obsession with the neighbours is not confined to a probable case of murder, his interest first and foremost is with the love lives of those he observes, thus forcing (excusing) him to acknowledge the love from the woman who so wants to be in his life!
It's also important to note the merits of each character of the piece, those that visit Jefferies and the conversations that take place, even the suspected murderer has a bemused interest pouring from his very frame. Rarely has a film been produced that has every single character having a critical element to the story. Then there is the ending where Hitchcock and his team weave all strands together to leave us wryly smiling away whilst simultaneously feeling that we have been had by the big director, and be under no illusions here, we have been at the mercy of a genius and party to a film of unquestionable quality. 10/10
Watch Movies Online|Full Movie Download|Movies Online Free Websites|Movies Online Stream|Online Full HD Movies. Watch and streaming your favorite full movies online on solarmovie.com and in the app!
108 Minutes | Crime, Drama | 1954-06-22
📥 On the Waterfront 1954
📥 DOWNLOAD HERE
Watch Movies Online|Full Movie Download|Movies Online Free Websites|Movies Online Stream|Online Full HD Movies. Watch and streaming your favorite full movies online on solarmovie.com and in the app!
112 Minutes | Drama, Mystery, Thriller | 1954-09-01
📥 Rear Window 1954
📥 DOWNLOAD HERE
L.B. Jeffries (Jimmy Stewart), an adventurous photographer, is temporarily immobilized by a serious leg injury. Bored, and living in a time where TV and internet were not available as distractions, he watches the courtyard out his real window and speculates about the lives of the neighbors that he sees. In particular, he wonders whether his neighbor Thorvald (Raymond Burr, who actually looks older than his later character Perry Mason) may have killed his wife.
Hitchcock examines the situation from numerous points of view. At one extreme, Jeff could be considered a brilliant detective who sleuths out a case based purely on close observation. At the other end, he could be considered a voyeur and a paranoid whose suspicions could damage other people. These interpretations are voiced by his acquaintances, including his nurse (Thelma Ritter) and his fiance (Grace Kelly, the future Princess Grace of Monaco). In the end physical evidence is found that settles the Thorvald case but leaves Jeff's motivation still in question.
Hitchcock takes advantage of the situation to introduce numerous subplots -- but they're MINIMALIST subplots, where the audience only sees what Jeff sees from his window. (Mild spoilers follow) Newlyweds quarrel, a depressed woman considers suicide but is rescued by a neighbor; a sexy girl ("Miss Torso") turns out to be not a party girl but devoted to an absent boyfriend.
An entertaining thing about this movie is that we have numerous actors -- Stewart, Kelly, and Burr -- who are to become more famous for later movies and incidents.
It Had To Be Murder.
L.B. Jefferies is a wheelchair bound photographer who by way of relieving his boredom, starts observing the lives of all his neighbours from his apartment window. As he gets deeper into the lives of all around him, he becomes convinced that one of hem has committed the act of murder, thus putting himself and those close to him in mortal danger.
Much like most of Alfred Hitchcock's other lauded pictures, Rear Window has been dissected, examined, appraised and written about by far more versed people than myself, a mere film fanatic. So how do I even start to write a review of a film that I view as one of Hitchcock's best? Well maybe I should just write what I like about it without delving into psycho babble and a deconstruction of the human psyche and all its little offshoots! So I will!.
Rear Window is adapted by Alfred Hitchcock and his writer John Michael Hayes, from the Cornell Woolrich story called It Had To Be Murder/Murder From A Fixed Viewpoint. The film of course forces us the viewers to become voyeurs, watching a newly hooked voyeur go about his business. Quite a neat trick from Hitchcock, and one can reasonably assume that the maestro director was chuckling with glee within his genius girth.
Working from the confines of a single set, Hitchcock has molded a suspenseful, intriguing, cheeky and sexy picture, with a top line cast giving the smart screenplay the performances it deserved. What is often forgot by those more concerned with the psychological aspects of Rear Window is the blatant irony of L.B. Jefferies situation, his obsession with the neighbours is not confined to a probable case of murder, his interest first and foremost is with the love lives of those he observes, thus forcing (excusing) him to acknowledge the love from the woman who so wants to be in his life!
It's also important to note the merits of each character of the piece, those that visit Jefferies and the conversations that take place, even the suspected murderer has a bemused interest pouring from his very frame. Rarely has a film been produced that has every single character having a critical element to the story. Then there is the ending where Hitchcock and his team weave all strands together to leave us wryly smiling away whilst simultaneously feeling that we have been had by the big director, and be under no illusions here, we have been at the mercy of a genius and party to a film of unquestionable quality. 10/10
Watch Movies Online|Full Movie Download|Movies Online Free Websites|Movies Online Stream|Online Full HD Movies. Watch and streaming your favorite full movies online on solarmovie.com and in the app!
105 Minutes | Crime, Thriller | 1954-05-29
📥 Dial M for Murder 1954
📥 DOWNLOAD HERE
I used to consider this second-tier Hitchcock, but a re-watch proved to me just how excellent the script and directing were, as well as how stellar and underrated both Grace Kelly and Ray Milland tend to be, at least presently, three generations after the fact. The suspense is tied tighter than the proverbial drum.
Needless to say, to this day, I never keep scissors on top of my desk anymore...
No, I'm afraid my murders would be something like my bridge: I'd make some stupid mistake and never realize it until I found everybody was looking at me.
Middle tier Hitchcock it may be, by his own admission, but it's still one of the finest mystery thrillers around. Ray Milland plays Tony Wendice, a former tennis player married to Grace Kelly's Margot, who is the source of his wealth. Fearing his lifestyle is about to come to an end due to her dalliances with American mystery writer, Mark Halliday (Robert Cummins), Tony hatches a plan to have her murdered by an old acquaintance whom he has over a barrel with blackmail. However, the plan backfires and a whole new strategy is needed to save Tony from suspicion.
Based on the popular and successful play by Frederick Knott (who adapts for the screenplay here), Dial M For Murder was a film Hitchcock had little time for. In fact, having already started work on Rear Window, Hitch treated Dial M For Murder as a jobbing assignment. His mood was further darkened by Jack Warner's insistence that the film be shot in 3D, with all the camera restraints that such a production brings. Perhaps unsurprisingly though, the restraints and general mood of the director brought about very pleasing results. Choosing to go for a claustrophobic single set shoot, Hitchcock resisted the urge to launch things around for 3D effects, instead he used the process to highlight props and angles of the Wendice home. His use of colours here first rate, particularly around his new found favourite actress, Grace Kelly.
Having never seen the 3D version (who has I wonder?) I can't say what impact, if any, the gimmick had. But regardless of Hitch's grumblings and general disdain towards the film, he rose to the challenge by challenging himself and actually produced a fine and technically sound picture. Ray Milland is icy cold yet debonair, while John Williams as Chief Inspector Hubbard strides in and walks off with the film. Kelly is adequate enough, it's her least effective turn for Hitch, so early in her career, she was a bit free with her physical love on the set (source "A Life in Darkness and Light"), but this highly appealed to (and amused) Hitch and he of course would use her for better rewards post this production. Sadly Cummings is awfully bland and threatens to lose the film momentum when things start to spice up in the last quarter.
Hugely entertaining picture though, one that is ripe with characterisations and of much interest to Hitchcock purists in how he works around the 3D format for his own filmic senses, Dial M For Murder holds up well today as a disquieting mystery thriller. 8/10
Just with a glance at the cast list and the knowledge that it's directed by the legendary film-making genius Alfred Hitchcock, you know it's going to be good. This taut, nicely-done thriller was originally filmed in 3D, though I wouldn't say it's any less effective when viewed normally. Ray Milland and Grace Kelly are both very accomplished actors, and are very enjoyable here. Watch for John Williams as Inspector Hubbard from Scotland Yard; he's like a British Columbo! The story moves along at a good clip, with interesting dialogue and good twists. Watch out for that lethal pair of scissors!
While this is not one of the most popular Alfred Hitchcock films out there, it is still brilliant.
You can immediately recognise this film has Sir Alfred Hitchcock’s signature on it from the way the film is shot and its story is told.
I did not know anything about the film before I started watching it and I am glad I did it. There were plenty of surprises to see me going to the end of the film.
Would I watch it again? Possibly. Would I make my friends watch it? Definitely.