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He also constructed intricate, airtight stories with attention to detail and was always fascinated by the battle between the sexes. Until he upped the ante on violence with “Psycho” and “The Birds,” Hitchcock’s hallmark was suspense, an art of storytelling that is largely lost today. Other remakes range from the reverential (“Psycho” uses the master’s original shooting script) to the barely recognizable (a remake of “Spellbound” will bear scant resemblance to the 1945 psychological thriller that starred Ingrid Bergman and Gregory Peck it won’t even have the same title). It’s a remake of Hitchcock’s 1954 suspense drama “Dial M for Murder,” with Grace Kelly and Ray Milland in the leads. The first to reach the big screen is “A Perfect Murder,” starring Michael Douglas and Gwyneth Paltrow, which opens Friday. It’s tempting to try and re-create that.” “His films were impeccably structured, and the way he created suspense was visceral. “He’s one of the classicists,” says Bruce Berman, producer of a second remake of Hitchcock’s “The 39 Steps” and former Warner Bros. But in the case of the master of suspense, what’s more surprising is that it took Hollywood so long to raid his vault of treasured titles. With more than a half-dozen remakes of Alfred Hitchcock movies due for release in theaters (and on TV) over the next couple of years, purists may carp that the film industry is once again strip-mining its past.