Grace Kelly had one hour to choose between returning to work with Alfred Hitchcock or taking the part of the girl in On the Waterfront. She chose this. And a good thing too, because it was written with her in mind. At the director’s suggestion, radio writer John Michael Hayes had got to know her on and off the set of Dial M for Murder and designed the role adapted from a story by Cornell Woolrich around Kelly’s authentic persona and that of his wife, a former model. It was by working with Hitchcock that Kelly learned to work with her whole body. He listened to her and she loved his jokes – they shared a filthy sense of humour. She plays Lisa Carol Fremont, a high society NYC mover and shaker who’s in love with photojournalist James Stewart, stuck looking out his window at his neighbours’ apartments while laid up with a broken leg. She’s desperately in love with him but he wants to get rid of her – then she becomes a gorgeous Nancy Drew when he suspects one of his neighbours has murdered his wife. Only then does he realise what he’s got. She’s the action girl of his dreams. When you go to Paramount Studios you can see the four-wall facility that Hitchcock used to create the biggest set built there but sadly nothing remains of this paean to onanism, voyeurism, narcissism and whatever other perversion you’re having yourself. Oh, and scopophilia. In theory, this is all about Stewart but really it’s all about Kelly – and the biggest joke here of course is that the most beautiful woman in the world wants him and he doesn’t get it. Not really. Not until she becomes a part of the unfolding events he watches through his viewfinder. Kelly’s entrance is probably the greatest afforded any movie star. Her costumes alone tell a great story. MGM never knew what to do with her so loaning her out wasn’t a problem. The theatre owners knew who the real star was – and put her name up on their marquees above anyone else’s. Audiences adored her. She was the biggest thing in 1954. And this witty, clever study of a man afraid of marriage is for most people Hitchcock’s greatest achievement. For more on Kelly’s collaborations with Hitchcock, which are the peak of both their careers, and the high point of midcentury cinema, you can see my essay Hitchcock/Kelly at Canadian journal Offscreen: https://www.offscreen.com/hitchcock-kelly.