Alfred Hitchcock

“Hitchcock” redirects here. For other uses, see Hitchcock(disambiguation).

Sir Alfred Joseph Hitchcock, KBE (13 August 1899– 29 April 1980)[2] was an English film directorand producer.[3] Often nicknamed “The Master ofSuspense”,[4] he pioneered many techniques in thesuspense and psychological thriller genres. After a suc-cessful career in British cinema in both silent films andearly talkies, renowned as England’s best director, Hitch-cock moved to Hollywood in 1939[5] and became a UScitizen in 1955.Over a career spanning more than half a century, Hitch-cock fashioned for himself a distinctive and recognis-able directorial style.[6] He pioneered the use of a cam-era made to move in a way that mimics a person’s gaze,forcing viewers to engage in a form of voyeurism.[7] Heframed shots to maximise anxiety, fear, or empathy, andused innovative film editing.[7] His stories often featurefugitives on the run from the law alongside “icy blonde”female characters.[8][9] Many of Hitchcock’s films havetwist endings and thrilling plots featuring depictions of vi-olence, murder, and crime. Many of the mysteries, how-ever, are used as decoys or "MacGuffins" that serve thefilm’s themes and the psychological examinations of thecharacters. Hitchcock’s films also borrow many themesfrom psychoanalysis and feature strong sexual overtones.Through his cameo appearances in his own films, inter-views, film trailers, and the television program AlfredHitchcock Presents, he became a cultural icon.Hitchcock directed more than fifty feature films in a ca-reer spanning six decades. Often regarded as the great-est British filmmaker, he came first in a 2007 poll offilm critics in Britain’s Daily Telegraph, which said: “Un-questionably the greatest filmmaker to emerge from theseislands, Hitchcock did more than any director to shapemodern cinema, which would be utterly different withouthim. His flair was for narrative, cruelly withholding cru-cial information (from his characters and from viewers)and engaging the emotions of the audience like no oneelse.”[10][11] The magazine MovieMaker has describedhim as the most influential filmmaker of all time,[12] andhe is widely regarded as one of cinema’s most significantartists.[13]

1 Early life

Born on 13 August 1899 in Leytonstone (then part ofEssex, now part of London), England, Hitchcock was thesecond son and the youngest of three children of WilliamHitchcock (1862–1914), a greengrocer and poulterer,and Emma Jane Hitchcock (née Whelan; 1863–1942).Named Alfred after his father’s brother, Hitchcock wasbrought up as a Roman Catholic and was sent to SalesianCollege[14] and the Jesuit Classic school St Ignatius’ Col-lege in Stamford Hill, London.[15][16] His parents wereboth of half-English and half-Irish ancestry.[17][18] He of-ten described a lonely and sheltered childhood worsenedby his obesity.[19]

Around age five, according to Hitchcock, he was sent byhis father to the local police station with a note askingthe officer to lock him away for five minutes as punish-ment for behaving badly.[20][21] This incident not only im-planted a lifetime fear of policemen in Hitchcock, butsuch harsh treatment and wrongful accusations would befound frequently throughout his films.[22]

When Hitchcock was 15, his father died. In the sameyear, he left St. Ignatius to study at the LondonCounty Council School of Engineering and Navigation inPoplar, London.[23] After leaving, he became a draftsmanand advertising designer with a cable company calledHenley’s.[24] During the First World War, Hitchcock wasrejected for military service because of his obesity. Nev-ertheless, the young man signed up to a cadet regimentof the Royal Engineers in 1917. His military stint waslimited: he received theoretical briefings, weekend drillsand exercises. Hitchcock would march around London’sHyde Park and was required to wear puttees, the properwrapping of which he could never master.[25]

While working at Henley’s, Hitchcock began to dabblecreatively. After the company’s in-house publication, TheHenley Telegraph, was founded in 1919, he often submit-ted short articles and eventually became one of its mostprolific contributors. His first piece was “Gas” (1919),published in the first issue, in which a youngwoman imag-ines that she is being assaulted one night in Paris – onlyfor the twist to reveal that it was all just a hallucination inthe dentist’s chair, induced by the anaesthetic.Hitchcock’s second piece was “The Woman’s Part”(1919), which involves the conflicted emotions a hus-band feels as he watches his wife, an actress, performonstage.[26] “Sordid” (1920) surrounds an attempt to buya sword from an antiques dealer, with another twist end-

1

2 2 INTER-WAR BRITISH CAREER

ing. The short story “And There Was No Rainbow”(1920) was Hitchcock’s first brush with possibly cen-surable material. A young man goes out looking for abrothel, only to stumble into the house of his best friend’sgirl. “What’s Who?" (1920), while humorous, was alsoa forerunner to the famous Abbott and Costello "Who’son First?" routine. “The History of Pea Eating” (1920)was a satirical disquisition on the various attempts peoplehave made over the centuries to eat peas successfully. Hisfinal piece, “Fedora” (1921), was his shortest and mostenigmatic contribution. It also gave a strikingly accuratedescription of his future wife, Alma Reville (whom hehad not yet met).[27]

2 Inter-war British career

Hitchcock became intrigued by photography and startedworking in film production in London, working as a titlecard designer for the London branch of what would be-come Paramount Pictures.[28] In 1920, he received afull-time position at Islington Studios with its Americanowner, Famous Players-Lasky, and their British succes-sor, Gainsborough Pictures,[29] designing the titles forsilent movies.[30] His rise from title designer to film di-rector took five years. During this period, he becamean unusual combination of screenwriter, art director andassistant director on a series of five films for producerMichael Balcon and director Graham Cutts: Woman toWoman (1923), The White Shadow (1924),[31] The Pas-sionate Adventure (1924), The Blackguard (1925), andThe Prude’s Fall (1925).[32]

Hitchcock’s penultimate collaboration with Cutts, TheBlackguard (German title Die Prinzessin und der Geiger,1925), was produced at the Babelsberg Studios in Pots-dam near Berlin, where Hitchcock observed part ofthe making of F. W. Murnau's film The Last Laugh(1924).[33] He was very impressed with Murnau’s workand later used many techniques for the set design inhis own productions. In a book-length interview withFrançois Truffaut, Hitchcock also said he was influencedby Fritz Lang's film Destiny (1921).[32] He was likewiseinfluenced by other foreign filmmakers whose work heabsorbed as one of the earliest members of the “seminal”London Film Society, formed in 1925.[34]

Hitchcock’s first few films faced a string of bad luck. Hisfirst directing project came in 1922 with the aptly titledNumber 13.[35] The production was cancelled because offinancial problems;[35] filmed in London, the few scenesthat had been finished at that point have been lost. In1925, Michael Balcon[36] gave Hitchcock another oppor-tunity for a directing credit with The Pleasure Garden,a co-production of Gainsborough and the German firmEmelka, which he made at the Geiselgasteig studio nearMunich in the summer of 1925; the film was a commer-cial flop.[37] Next, Hitchcock directed a drama called TheMountain Eagle (possibly released under the title Fear

Hitchcock (right) during the making of Number 13 in London

o' God in the United States). This film was eventuallylost.[38]

In 1926, Hitchcock’s luck changed with his first thriller,The Lodger: A Story of the London Fog, a suspensefilm about the hunt for a Jack the Ripper type ofserial killer in London.[39] Released in January 1927,it was a major commercial and critical success in theUnited Kingdom.[40] As with many of his earlier works,this film was influenced by Expressionist techniquesHitchcock had witnessed first-hand in Germany.[41]Some commentators regard this piece as the first truly“Hitchcockian”[42][43] film, incorporating such themes asthe “wrong man”.[44]

Following the success of The Lodger, Hitchcock hireda publicist to help strengthen his growing reputation.On 2 December 1926, Hitchcock married his assis-tant director, Alma Reville, at the Brompton Oratory inSouth Kensington, London.[39] Their only child, daughterPatricia, was born on 7 July 1928. Alma was to becomeHitchcock’s closest collaborator, but her contributions tohis films (some of which were credited on screen) Hitch-cock would discuss only in private, as she was keen toavoid public attention.[45]

In 1929, Hitchcock began work on his tenth filmBlackmail. While the film was still in production, the stu-dio, British International Pictures (BIP), decided to con-vert it to sound. As an early 'talkie', the film is often citedby film historians as a landmark film,[46] and is often con-sidered to be the first British sound feature film.[47][48]With the climax of the film taking place on the dome ofthe British Museum, Blackmail began the Hitchcock tra-dition of using famous landmarks as a backdrop for sus-pense sequences. It also features one of his longest cameoappearances, which shows him being bothered by a smallboy as he reads a book on the London Underground.[49]In the PBS series The Men Who Made The Movies,[50]Hitchcock explained how he used early sound record-ing as a special element of the film, stressing the word“knife” in a conversation with the woman suspected ofmurder.[51] During this period, Hitchcock directed seg-

3

ments for a BIP musical film revue Elstree Calling (1930)and directed a short film featuring two FilmWeekly schol-arship winners, An Elastic Affair (1930). Another BIPmusical revue, Harmony Heaven (1929), reportedly hadminor input from Hitchcock, but his name does not ap-pear in the credits.In 1933, Hitchcock was once again working for MichaelBalcon[36] at Gaumont-British Picture Corporation.[52]His first film for the company, The Man Who Knew TooMuch (1934), was a success and his second, The 39 Steps(1935), is often considered one of the best films from hisearly period with the British Film Institute ranking it thefourth best British film of the 20th century.[53] Alreadyacclaimed in Britain, the success of the film made Hitch-cock a star in the US, and established the quintessentialEnglish 'Hitchcock blonde' Madeleine Carroll as the tem-plate for his succession of ice cold and elegant leadingladies.[54] This film was also one of the first to introducethe "MacGuffin". In The 39 Steps, the MacGuffin is astolen set of design plans. Hitchcock told French direc-tor François Truffaut:

There are two men sitting in a train goingto Scotland and one man says to the other, “Ex-cuse me, sir, but what is that strange parcel youhave on the luggage rack above you?", “Oh”,says the other, “that’s a Macguffin.”, “Well”,says the first man, “what’s a Macguffin?", Theother answers, “It’s an apparatus for trappinglions in the Scottish Highlands.”, “But”, saysthe first man, “there are no lions in the ScottishHighlands.”, “Well”, says the other, “then that’sno Macguffin.”[55]

Hitchcock’s next major success was his 1938 film TheLady Vanishes, a fast-paced film about the search for akindly old EnglishwomanMiss Froy (DameMayWhitty),who disappears while on board a train in the fictionalcountry of Bandrika.[56] The Guardian called the film“one of the greatest train movies from the genre’s goldenera”, and a contender for the “title of best comedy thrillerever made”.[57] In 1939, Hitchcock received the NewYork Film Critics Circle Award for Best Director, theonly time he received an award for his directing.[58][59]The film frequently ranks among the best British films ofall time.[60]

By 1938, Hitchcock had become known for his allegedobservation, “Actors are cattle”. He once said that he firstmade this remark as early as the late 1920s, in connec-tion to stage actors who were snobbish about motion pic-tures. However, Michael Redgrave said that Hitchcockhad made the statement during the filming of The LadyVanishes. The phrase would haunt Hitchcock for years tocome. During the filming of his 1941 production of Mr.&Mrs. Smith, Carole Lombard brought some heifers ontothe set with name tags of Lombard, Robert Montgomery,and Gene Raymond, the stars of the film, to surprise the

director. Hitchcock said he was misquoted: “I said 'Ac-tors should be treated like cattle'.”[61]

Lauded in Britain where he was dubbed “Alfred theGreat” by Picturegoer magazine, by the end of the 1930sHitchcock’s reputation was beginning to soar overseas,with a New York Times feature writer stating; “Threeunique and valuable institutions the British have that we inAmerica have not. Magna Carta, the Tower Bridge andAlfred Hitchcock, the greatest director of screen melo-dramas in the world.”[62] Variety magazine referred tohim as, “probably the best native director in England.”[63]David O. Selznick signed Hitchcock to a seven-yearcontract beginning in March 1939, and the Hitchcocksmoved to Hollywood.[64]

3 Hollywood

In Hollywood, the suspense and the gallows humour thathad become Hitchcock’s trademark in film continued toappear in his productions. The working arrangementswith Selznick were less than ideal. Selznick suffered fromconstant money problems, and Hitchcock was often dis-pleased with Selznick’s creative control over his films. Ina later interview, Hitchcock summarised the working re-lationship thus:

Alfred Hitchcock with Chandran Rutnam (centre) and SriLankan Film Maker Anton Wickremasinghe at the AcademyAwards in Los Angeles.

[Selznick] was the Big Producer. ... Pro-ducer was king, The most flattering thing Mr.Selznick ever said about me—and it shows youthe amount of control—he said I was the “onlydirector” he'd “trust with a film”.[65]

Selznick lent Hitchcock to the larger studios more oftenthan producing Hitchcock’s films himself. Selznick, aswell as fellow independent producer Samuel Goldwyn,made only a few films each year, so he did not alwayshave projects for Hitchcock to direct. Goldwyn had also

4 3 HOLLYWOOD

negotiated with Hitchcock on a possible contract, onlyto be outbid by Selznick. Hitchcock was quickly im-pressed with the superior resources of the American stu-dios compared with the financial limits he had often facedin England.[66]

With the prestigious Selznick picture Rebecca in 1940,Hitchcock made his first American movie, set in a Hol-lywood version of England’s West Country and based ona novel by English author Daphne du Maurier. The filmstarred Laurence Olivier and Joan Fontaine. The storyconcerns a naïve (and unnamed) young woman who mar-ries a widowed aristocrat. She goes to live in his hugeEnglish country house, and struggles with the lingeringreputation of the elegant and worldly first wife, whosename was Rebecca, and who died under mysterious cir-cumstances. The film won the Academy Award for BestPicture of 1940.[67] The statuette was given to Selznick,as the film’s producer.[67] Hitchcock was nominated forthe Best Director award, his first of five such nominations,but did not win.There were additional problems between Selznick andHitchcock, with Selznick known to impose restrictiverules on Hitchcock. At the same time, Selznick com-plained about Hitchcock’s “goddamn jigsaw cutting”,which meant that the producer did not have nearly theleeway to create his own film as he liked, but had tofollow Hitchcock’s vision of the finished product.[68] Re-becca was the fourth longest of Hitchcock’s films, at 130minutes, exceeded only by The Paradine Case (132 min-utes), North by Northwest (136 minutes), and Topaz (142minutes).[69]

Hitchcock’s second American film, the European-setthriller Foreign Correspondent (1940), based on VincentSheean's Personal History and produced by WalterWanger, was nominated for Best Picture that year. Hitch-cock and other British subjects felt uneasy living andworking in Hollywood while their country was at war;his concern resulted in a film that overtly supportedthe British war effort.[70] The movie was filmed in thefirst year of the Second World War and was inspiredby the rapidly changing events in Europe, as fictionallycovered by an American newspaper reporter portrayedby Joel McCrea. The film mixed footage of Europeanscenes with scenes filmed on a Hollywood back lot. Thefilm avoided direct references to Nazism, Germany, andGermans to comply with Hollywood’s Production Codecensorship.[71]

3.1 1940s films

Hitchcock’s films during the 1940s were diverse, rangingfrom the romantic comedy Mr. & Mrs. Smith (1941) tothe courtroom drama The Paradine Case (1947) to thedark and disturbing film noir Shadow of a Doubt (1943).In September 1940, the Hitchcocks bought the 200-acre(0.81 km2) Cornwall Ranch near Scotts Valley in the

Cary Grant and Ingrid Bergman in Notorious (1946)

Santa Cruz Mountains. The ranch became the primaryresidence of the Hitchcocks for the rest of their lives, al-though they kept their Bel Air home. Suspicion (1941)marked Hitchcock’s first film as a producer as well asdirector. The film was set in England, and Hitchcockused the north coast of Santa Cruz, California, for theEnglish coastline sequence.[28] This film was to be ac-tor Cary Grant's first time working with Hitchcock, andit was one of the few times that Grant would be castin a sinister role.[28] Joan Fontaine[72] won Best ActressOscar[28] for her “outstanding performance in Suspicion".Grant plays an irresponsible English con man whose ac-tions raise suspicion and anxiety in his shy young Englishwife (Fontaine).[73] In a notable scene, Hitchcock uses alightbulb to illuminate what might be a fatal glass of milkthat Grant is bringing to his wife. In the book the movie isbased on (Before the Fact by Francis Iles), the Grant char-acter is a killer, but Hitchcock and the studio felt Grant’simage would be tarnished by that ending. Though a homi-cide would have suited him better, as he stated to FrançoisTruffaut, Hitchcock settled for an ambiguous finale.[74]

Saboteur (1942) was the first of two films that Hitchcockmade for Universal, a studio where he would continuehis career during his later years. Hitchcock was forcedto use Universal contract players Robert Cummings andPriscilla Lane, both known for their work in comedies andlight dramas.[75] Breaking with Hollywood conventions ofthe time, Hitchcock did extensive location filming, espe-cially in New York City, and depicted a confrontation be-tween a suspected saboteur (Cummings) and a real sabo-teur (Norman Lloyd) atop the Statue of Liberty. Thatyear he also directed Have You Heard?, a photographicdramatisation of the dangers of rumours during wartime,for Life magazine.[76]

Shadow of a Doubt (1943), Hitchcock’s personalfavourite of all his films and the second of the earlyUniversal films,[77] was about young Charlotte “Charlie”Newton (Teresa Wright), who suspects her beloved uncleCharlie Oakley (Joseph Cotten) of being a serial mur-derer. Hitchcock again filmed extensively on location,this time in the Northern California city of Santa Rosa,

3.1 1940s films 5

during the summer of 1942. The director showcased hispersonal fascination with crime and criminals when hehad two of his characters discuss various ways of killingpeople, to the obvious annoyance of Charlotte.Working at 20th Century Fox, Hitchcock adapted a scriptof John Steinbeck's that recorded the experiences of thesurvivors of a German U-boat attack in the film Lifeboat(1944). The action sequences were shot in a small boatin the studio water tank. The locale also posed problemsfor Hitchcock’s traditional cameo appearance. That wassolved by having Hitchcock’s image appear in a news-paper that William Bendix is reading in the boat, show-ing the director in a before-and-after advertisement for“Reduco-Obesity Slayer”.[78]

While at Fox, Hitchcock seriously considered directingthe film version of A. J. Cronin's novel about a Catholicpriest in China,[79] The Keys of the Kingdom, but the plansfor this fell through. JohnM. Stahl ended up directing the1944 film, which was produced by Joseph L. Mankiewiczand starred Gregory Peck, among other luminaries.[79]

Returning to England for an extended visit in late 1943and early 1944, Hitchcock made two short films forthe British Ministry of Information, Bon Voyage andAventure Malgache.[80] The two British propaganda filmsmade for the Free French, were the only films Hitchcockmade in the French language, and “feature typical Hitch-cockian touches”.[81] In the 1990s, the two films wereshown by Turner Classic Movies and released on homevideo.From late June to late July 1945, Hitchcock served as“treatment advisor” on a Holocaust documentary whichused footage provided by the Allied Forces.[82] Producedby Sidney Bernstein of the British Ministry of Informa-tion, the film was assembled in London, and Bernsteinbrought his future 1948–49 production partner Hitchcockon board as a consultant for the film editing process forthe BritishMinistry of Information and the American Of-fice of War Information.[82][83] Commissioned to provideirrefutable evidence of the Nazis’ crimes, the film, whichin 1952 had been transferred from the British War Officefilm vaults to London’s Imperial War Museum, recordedthe liberation of Nazi concentration camps, and remainedunreleased until 1985 when an edited version was broad-cast as an episode of the PBS network series Frontlineunder the title the Imperial War Museum had given it:Memory of the Camps.[84][85] In 2014 the full-length ver-sion of the film, German Concentration Camps FactualSurvey, was completed and restored by film scholars atthe Imperial War Museum.[82]

Hitchcock worked for Selznick again when he directedSpellbound (1945), which explored psychoanalysis[86] andfeatured a dream sequence designed by Salvador Dalí.Gregory Peck plays amnesiac Dr. Anthony Edwardesunder the treatment of analyst Dr. Peterson (IngridBergman), who falls in love with him while trying to un-lock his repressed past.[87] The dream sequence as it ap-

pears in the film is ten minutes shorter than was origi-nally envisioned, having been edited by Selznick to makeit “play” more effectively.[88] Two point-of-view shotswere achieved by building a large wooden hand (whichwould appear to belong to the character whose pointof view the camera took) and out-sized props for it tohold: a bucket-sized glass of milk and a large woodengun. For added novelty and impact, the climactic gunshotwas hand-coloured red on (some copies of) the black-and-white film. Some of the original musical score byMiklós Rózsa (which makes use of the theremin) waslater adapted by the composer into a concert piano con-certo.

Grant and Bergman in Notorious (1946)

Notorious (1946) followed Spellbound. According toHitchcock, in his book-length interview with FrançoisTruffaut, Selznick sold the director, the two stars (Grantand Bergman) and the screenplay (by Ben Hecht) to RKORadio Pictures as a “package” for $500,000 due to costoverruns on Selznick’s Duel in the Sun (1946). Notori-ous starred Hitchcock regulars Ingrid Bergman and CaryGrant, and features a plot about Nazis, uranium, andSouth America. It was a huge box office success and hasremained one of Hitchcock’s most acclaimed films. Hisprescient use of uranium as a plot device led to Hitch-cock’s being briefly under FBI surveillance. McGilli-gan writes that Hitchcock consulted Dr. Robert Millikanof Caltech about the development of an atomic bomb.Selznick complained that the notion was “science fiction”,only to be confronted by the news stories of the detona-tion of two atomic bombs on Hiroshima and Nagasaki inJapan in August 1945.[89]

After completing his final film for Selznick, The Para-dine Case (1947), (a courtroom drama that critics foundlost momentum because it apparently ran too long andexhausted its resource of ideas), Hitchcock formed anindependent production company with his friend SidneyBernstein called Transatlantic Pictures, through which hemade two films, his first in colour and making use of longtakes. With Rope (1948), Hitchcock experimented withmarshaling suspense in a confined environment, as he had

6 3 HOLLYWOOD

done earlier with Lifeboat (1943). Appearing to havebeen shot in a single take, Rope was actually shot in 10takes ranging from four and a half to 10 minutes each; a10-minute length of film being the maximum a camera’sfilm magazine could hold at the time. Some transitionsbetween reels were hidden by having a dark object fill theentire screen for a moment. Hitchcock used those pointsto hide the cut, and began the next take with the camerain the same place. Featuring James Stewart in the lead-ing role, Rope was the first of four films Stewart wouldmake with Hitchcock. It was inspired by the Leopoldand Loeb case of the 1920s. Somehow Hitchcock’s cam-eraman managed to move the bulky, heavy Technicolorcamera quickly around the set as it followed the continu-ous action of the long takes.Under Capricorn (1949), set in nineteenth-century Aus-tralia, also used the short-lived technique of long takes,but to a more limited extent. He again used Technicolorin this production, then returned to black-and-white filmsfor several years. Transatlantic Pictures became inactiveafter these two unsuccessful films. But Hitchcock contin-ued to produce his own films for the rest of his life.

3.2 1950s: Peak years

James Stewart and Grace Kelly in Rear Window (1954)

Hitchcock filmed Stage Fright (1950) in the UK. Forthe first time, he matched one of Warner Bros.'[90] mostpopular stars, Jane Wyman, with the sultry German ac-tress Marlene Dietrich. Hitchcock used several promi-nent British actors, including Michael Wilding, RichardTodd, and Alastair Sim. This was Hitchcock’s first pro-duction forWarner Bros., which had distributedRope andUnder Capricorn, because Transatlantic Pictures was ex-periencing financial difficulties.[91]

With the film Strangers on a Train (1951), based onthe novel by Patricia Highsmith, Hitchcock combinedmany elements from his preceding films. He approachedDashiell Hammett to write the dialogue but RaymondChandler took over, then left over disagreements withthe director.[92] Two men casually meet, one of whomspeculates on a foolproof murder technique. He suggeststhat two people, each wishing to do away with someone,

should each perform the other’s murder. Farley Granger'srole was as the innocent victim of the scheme, whileRobert Walker, previously known for “boy-next-door”roles, played the villain.[93]

MCA head Lew Wasserman, whose client list includedJames Stewart, Janet Leigh and other actors who wouldappear in Hitchcock’s films, had a significant impact inpackaging and marketing Hitchcock’s films beginning inthe 1950s.After I Confess (1953) withMontgomery Clift, three pop-ular films starring Grace Kelly followed. Dial M for Mur-der (1954) was adapted from the stage play by FrederickKnott. Ray Milland plays the scheming villain, an ex-tennis pro who tries to murder his unfaithful wife GraceKelly for her money. When she kills the hired assassin inself-defense, Milland manipulates the evidence to makeit look like a premeditated murder by his wife. Her lover,Mark Halliday (Robert Cummings), and Police InspectorHubbard (JohnWilliams), work urgently to save her fromexecution.[94]WithDial M,Hitchcock experimented with3D cinematography. The public was growing weary ofthe gimmick by the time of the film’s release, however,and it was shown in 3D only in a few first-run engage-ments. The 3D version has been revived occasionally,including a brief reissue in some major US cities in the1980s. The film marked a return to color productions forHitchcock.Hitchcock then moved to Paramount Pictures and filmedRear Window (1954), starring James Stewart and Kellyagain, as well as Thelma Ritter and Raymond Burr. Stew-art’s character, a photographer based on Robert Capa,must temporarily use a wheelchair; out of boredom hebegins observing his neighbours across the courtyard, andbecomes convinced one of them (Raymond Burr) hasmurdered his wife. Stewart tries to sway both his glam-orous model-girlfriend (Kelly), whom screenwriter JohnMichael Hayes based on his own wife, and his police-man buddy (Wendell Corey) to his theory, and eventu-ally succeeds.[95] Aswith Lifeboat andRope, the principalcharacters were almost entirely confined to a small space,in this case Stewart’s tiny studio apartment overlookinga massive courtyard. Hitchcock used close-ups of Stew-art’s face to show his character’s reactions to all he sees,“from the comic voyeurism directed at his neighbours tohis helpless terror watching Kelly and Burr in the villain’sapartment”.[95]

In 1955, Hitchcock became a United States citizen.[96]His third Kelly film, To Catch a Thief (1955), set in theFrench Riviera, paired her with Cary Grant. He plays re-tired thief John Robie, who becomes the prime suspectfor a spate of robberies in the Riviera. A thrill-seekingAmerican heiress played by Kelly surmises his true iden-tity and tries to seduce him. “Despite the obvious agedisparity between Grant and Kelly and a lightweight plot,the witty script (loaded with double entendres) and thegood-natured acting proved a commercial success.”[97] It

3.3 1960: Psycho 7

was Hitchcock’s last film with Kelly. She married PrinceRainier of Monaco in 1956, and the residents of her newland were against her making any more films.Hitchcock successfully remade his own 1934 film TheMan Who Knew Too Much in 1956. This time, the filmstarred Stewart and Doris Day, who sang the theme song,"Que Sera, Sera (Whatever Will Be, Will Be)", whichwon the Oscar for Best Original Song and became a bighit for her. They play a couple whose son is kidnappedto prevent them from interfering with an assassination.As in the 1934 film, the climax takes place at the RoyalAlbert Hall, London.[98]

James Stewart and Kim Novak in Vertigo (1958)

TheWrongMan (1957), Hitchcock’s final film forWarnerBros., was a low-key black-and-white production basedon a real-life case of mistaken identity reported in LifeMagazine in 1953. This was the only film of Hitchcockto star Henry Fonda. Fonda plays a Stork Club musicianmistaken for a liquor store thief who is arrested and triedfor robbery while his wife (newcomer Vera Miles) emo-tionally collapses under the strain. Hitchcock told Truf-faut that his lifelong fear of the police attracted him to thesubject and was embedded in many scenes.[99]

Vertigo (1958) again starred Stewart, this time with KimNovak and Barbara Bel Geddes. Stewart plays “Scottie”,a former police investigator suffering from acrophobia,who develops an obsession with a woman he is shadow-ing (Novak). Scottie’s obsession leads to tragedy, and thistime Hitchcock does not opt for a happy ending. The filmcontains a camera technique developed by Irmin Robertsthat has been copied many times by filmmakers, whereinthe image appears to “stretch”. This is achieved by mov-ing the camera in the opposite direction of the camera’szoom. It has become known by many nicknames, includ-ing Dolly zoom, “Zolly,” “Hitchcock Zoom,” and “Ver-tigo Effect.”Although the film is widely considered a classic today,Vertigomet with negative reviews and poor box office re-ceipts upon its release, and was the last collaboration be-tween Stewart and Hitchcock.[100] Although ranked sec-ond (behindCitizen Kane) for almost 50 years the filmwasvoted top by critics in the 2012 Sight & Sound decade poll.It was premiered in the San Sebastián International FilmFestival,[101] where Hitchcock won a Silver Seashell.

Cary Grant in North by Northwest (1959)

By this time, Hitchcock had filmed in many areas ofthe United States.[102] He followed Vertigo with threemore successful films. Two are also recognised as amonghis best movies: North by Northwest (1959) and Psycho(1960). The third film was The Birds (1963).InNorth by Northwest, Cary Grant portrays Roger Thorn-hill, a Madison Avenue advertising executive who is mis-taken for a government secret agent.[103] He is hotly pur-sued across the United States by enemy agents, apparentlyone of them being Eve Kendall (Eva Marie Saint), in factworking undercover.

3.3 1960: Psycho

Psycho is almost certainly Hitchcock’s best-knownfilm.[104] Produced on a constrained budget of $800,000,it was shot in black-and-white on a spare set usingcrew members from his television show Alfred HitchcockPresents.[105] The unprecedented violence of the showerscene, the early death of the heroine, the innocent livesextinguished by a disturbed murderer became the defin-ing hallmarks of a new horror movie genre and have beencopied by many authors of subsequent films.[106]

The public loved the film, with lines stretching outsideof theatres as people had to wait for the next show-ing. It broke box-office records in China and the rest ofAsia, France, Britain, South America, the United Statesand Canada, and was a moderate success in Australiafor a brief period.[107] It was the most profitable black-and-white sound film ever made, and the most prof-itable of Hitchcock’s career; Hitchcock personally earnedwell in excess of $15 million. He subsequently swappedhis rights to Psycho and his TV anthology for 150,000shares of MCA, making him the third largest shareholderin MCA Inc. and his own boss at Universal, in the-ory at least, but that did not stop them from interfer-ing with him.[107][108] 'Hitchcock’s second most profitablewas Family Plot, earning $7.5 million, and third place wasa tie between Torn Curtain (1966) and Frenzy (1972),each earning $6.5 million.

8 3 HOLLYWOOD

3.4 After 1960

The Birds, inspired by a short story by English authorDaphne du Maurier and by a news story about a mys-terious infestation of birds in Capitola, California, wasHitchcock’s 49th film, and was filmed in Bodega Bay,California.[109] Newcomer Tippi Hedren made her screendebut in the film, co-starring Rod Taylor and SuzannePleshette. The scenes of the birds attacking included hun-dreds of shots mixing live and animated sequences. Thecause of the birds’ attack is left unanswered, “perhapshighlighting the mystery of forces unknown”.[110] Hitch-cock cast Hedren again opposite Sean Connery in hisnext film, Marnie, a romantic drama and psychologicalthriller. Decades later, Hedren called Hitchcock a misog-ynist and said that Hitchcock effectively ended her careerby keeping her to an exclusive contract for two years whenshe rebuffed his sexual advances.[111][112] However, He-dren appeared in two TV shows during the two years af-ter Marnie, and in over eighty films and TV shows afterthat period.[113] In 2012, Hedren described Hitchcock asa “sad character"; a man of “unusual genius”, yet “evil,and deviant, almost to the point of dangerous, because ofthe effect that he could have on people that were totallyunsuspecting.”[114] In response, a Daily Telegraph articlequoted several actresses who had worked with Hitchcock,including Eva Marie Saint, Doris Day and Kim Novak,none of whom shared Hedren’s opinion about him.[115]Novak, who worked on Hitchcock’sVertigo, told the Tele-graph “I never saw him make a pass at anybody or actstrange to anybody.”[116]

Psycho and The Birds had unconventional soundtracks:the screeching strings played in the murder scene in Psy-cho were unusually dissonant, and The Birds dispensedwith any conventional score, instead using a new tech-nique of electronically produced sound effects. BernardHerrmann composed the former and was a consultant onthe latter.Failing health reduced Hitchcock’s output during the lasttwo decades of his career. Biographer Stephen Rebelloclaimed Universal “forced” two movies on him, TornCurtain and Topaz.[108][117] Both were spy thrillers setwith Cold War-related themes. The first, Torn Curtain(1966), with Paul Newman and Julie Andrews, precip-itated the bitter end of the twelve-year collaboration be-tween Hitchcock and composer Bernard Herrmann. Her-rmann was fired when Hitchcock was unsatisfied with hisscore. Topaz (1969), based on a Leon Uris novel, is partlyset in Cuba. Both received mixed reviews from critics.In 1972, Hitchcock returned to England to film his penul-timate film Frenzy. After two only moderately successfulespionage films, the plot marks a return to the murderthriller genre of earlier in his career, and is based uponthe novel Goodbye Piccadilly, Farewell Leicester Square.The plot centres on a serial killer in contemporary Lon-don. In a very early scene there is dialogue that men-tions two actual London serial murder cases: the Christie

murders in the early 1950s, and the Jack the Ripper mur-ders in 1888. The basic story recycles his early film TheLodger. Richard Blaney (Jon Finch), a volatile barkeeperwith a history of explosive anger, becomes the prime sus-pect for the “Necktie Murders,” which are actually com-mitted by his friend Bob Rusk (Barry Foster).[118] Thistime, Hitchcock makes the victim and villain kindreds,rather than opposites, as in Strangers on a Train. Onlyone of them, however, has crossed the line to murder.[118]For the first time, Hitchcock allowed nudity and profanelanguage, which had previously been taboo, in one of hisfilms. He also shows rare sympathy for the chief inspectorand his comic domestic life.[119]

Biographers have noted that Hitchcock had alwayspushed the limits of film censorship, often managing tofool Joseph Breen, the longtime head of Hollywood’sProduction Code. Many times Hitchcock slipped in sub-tle hints of improprieties forbidden by censorship untilthe mid-1960s. Yet Patrick McGilligan wrote that Breenand others often realised that Hitchcock was insertingsuch things and were actually amused as well as alarmedby Hitchcock’s “inescapable inferences”.[120] Beginningwith Torn Curtain, Hitchcock was finally able to blatantlyinclude plot elements previously forbidden in Americanfilms and this continued for the remainder of his film ca-reer.

Hitchcock at work on location in San Francisco for Family Plot

Family Plot (1976) was Hitchcock’s last film. It relates theescapades of “Madam” Blanche Tyler, played by BarbaraHarris, a fraudulent spiritualist, and her taxi driver loverBruce Dern, making a living from her phony powers.William Devane, Karen Black and Cathleen Nesbitt co-starred. It is the only Hitchcock film scored by John

9

Williams. Based on the Victor Canning novel The Rain-bird Pattern, the novel’s tone is more sinister and darkthan what Hitchcock wanted for the film. ScreenwriterErnest Lehman originally wrote the film with a dark tonebut was pushed to a lighter, more comical tone by Hitch-cock. The film went through various titles including De-ceit and Missing Heir. It was changed to Family Plot atthe suggestion of the studio.

3.5 Last project and death

Near the end of his life, Hitchcock had worked on thescript for a projected spy thriller, The Short Night, col-laborating with screenwriters James Costigan, ErnestLehman and David Freeman. Despite some preliminarywork, the story was never filmed. This was caused pri-marily by Hitchcock’s own failing health and his con-cerns over the health of his wife, Alma, who had suf-fered a stroke. The screenplay was eventually publishedin Freeman’s 1999 book The Last Days of Alfred Hitch-cock.[121][122]

Hitchcock died at age 80 in his Bel Air home of renal fail-ure at 9:17 am on 29 April 1980.[123] While biographerSpoto wrote that Hitchcock “rejected suggestions that heallow a priest ... to come for a visit, or celebrate a quiet,informal ritual at the house for his comfort,” Jesuit priestFather Mark Henninger wrote that he and fellow priestTom Sullivan celebrated Mass at the filmmaker’s home;Father Sullivan heard Hitchcock’s confession.[124] He wassurvived by his wife and their daughter. Hitchcock’s fu-neral Mass was held at Good Shepherd Catholic Churchin Beverly Hills on 31 April 1980, after which his bodywas cremated and his remains were scattered over the Pa-cific Ocean on 10 May 1980.[125]

4 Signature appearances in hisfilms

Main article: List of Alfred Hitchcock cameo appear-ances

Hitchcock appears briefly in most of his own films. Forexample, he is seen struggling to get a double bass ontoa train (Strangers on a Train), walking dogs out of a petshop (The Birds), fixing a neighbour’s clock (Rear Win-dow), as a shadow (Family Plot), sitting at a table in a pho-tograph (Dial M for Murder) and missing a bus (North byNorthwest).

5 Themes, plot devices and motifs

Main article: Themes and plot devices in the films ofAlfred Hitchcock

Hitchcock returned several times to cinematic devicessuch as suspense, the audience as voyeur, and his well-known "MacGuffin,” a plot device that is essential to thecharacters on the screen, but is irrelevant to the audience.Thus, the MacGuffin was always hazily described (in“North By Northwest,” Leo G. Carroll describes JamesMason as an “importer-exporter.”)A central theme of Hitchcock’s films was murder and thepsychology behind it.[126][127]

6 Psychology of characters

Hitchcock’s films sometimes feature characters strugglingin their relationships with their mothers. In North byNorthwest (1959), Roger Thornhill (Cary Grant's charac-ter) is an innocent man ridiculed by his mother for insist-ing that shadowy, murderous men are after him. In TheBirds (1963), the Rod Taylor character, an innocent man,finds his world under attack by vicious birds, and strug-gles to free himself of a clinging mother (Jessica Tandy).The killer in Frenzy (1972) has a loathing of women butidolises his mother. The villain Bruno in Strangers on aTrain hates his father, but has an incredibly close relation-ship with his mother (played by Marion Lorne). Sebas-tian (Claude Rains) in Notorious has a clearly conflictualrelationship with his mother, who is (correctly) suspiciousof his new bride Alicia Huberman (Ingrid Bergman).Norman Bates has troubles with his mother in Psycho.Hitchcock heroines tend to be blondes.[8][9] The famousvictims in The Lodger are all blondes. In The 39 Steps,Hitchcock’s glamorous blonde star, Madeleine Carroll,is put in handcuffs. In Marnie (1964), the title charac-ter (played by Tippi Hedren) is a thief. In To Catch aThief (1955), Francie (Grace Kelly) offers to help a manshe believes is a burglar. In Rear Window, Lisa (GraceKelly again) risks her life by breaking into Lars Thor-wald’s apartment. The best-known example is in Psychowhere Janet Leigh's unfortunate character steals $40,000and is murdered by a reclusive psychopath. Hitchcock’slast blonde heroine was—years after Dany Robin and her“daughter” Claude Jade in Topaz—Barbara Harris as aphony psychic turned amateur sleuth in his final film,1976’s Family Plot. In the same film, the diamond smug-gler played by Karen Black could also fit that role, as shewears a long blonde wig in various scenes and becomesincreasingly uncomfortable about her line of work.Some critics and Hitchcock scholars, including DonaldSpoto and Roger Ebert, agree that Vertigo represents thedirector’s most personal and revealing film, dealing withthe obsessions of a man who crafts a woman into thewoman he desires. Vertigo explores more frankly and atgreater length his interest in the relation between sex anddeath than any other film in his filmography.[128]

Hitchcock often said that his favourite film (of his own

10 7 STYLE OF WORKING

work) was Shadow of a Doubt.[129]

7 Style of working

7.1 Writing

Hitchcock once commented, “The writer and I plan outthe entire script down to the smallest detail, and whenwe're finished all that’s left to do is to shoot the film. Ac-tually, it’s only when one enters the studio that one entersthe area of compromise. Really, the novelist has the bestcasting since he doesn't have to cope with the actors andall the rest.” In an interview with Roger Ebert in 1969,Hitchcock elaborated further:

Once the screenplay is finished, I'd just assoon not make the film at all ... I have a stronglyvisual mind. I visualise a picture right down tothe final cuts. I write all this out in the great-est detail in the script, and then I don't lookat the script while I'm shooting. I know it offby heart, just as an orchestra conductor needsnot look at the score ... When you finish thescript, the film is perfect. But in shooting ityou lose perhaps 40 percent of your originalconception.[130]

In Writing with Hitchcock, a book-length study of Hitch-cock’s working method with his writers, author StevenDeRosa noted that “Although he rarely did any actual'writing', especially on his Hollywood productions, Hitch-cock supervised and guided his writers through everydraft, insisting on a strict attention to detail and a pref-erence for telling the story through visual rather than ver-bal means. While this exasperated some writers, othersadmitted the director inspired them to do their very bestwork. Hitchcock often emphasised that he took no screencredit for the writing of his films. However, over time thework of many of his writers has been attributed solelyto Hitchcock’s creative genius, a misconception he rarelywent out of his way to correct. Notwithstanding his tech-nical brilliance as a director, Hitchcock relied on his writ-ers a great deal.”[131]

7.2 Storyboards and production

Hitchcock’s films were strongly believed to have been ex-tensively storyboarded to the finest detail by the major-ity of commentators over the years. He was reported tohave never even bothered looking through the viewfinder,since he did not need to, though in publicity photos he wasshown doing so. He also used this as an excuse to neverhave to change his films from his initial vision. If a studioasked him to change a film, he would claim that it was al-ready shot in a single way, and that there were no alternatetakes to consider.

Alfred Hitchcock by Jack Mitchell

However, this view of Hitchcock as a director who re-lied more on pre-production than on the actual produc-tion itself has been challenged by the book Hitchcock atWork, written by Bill Krohn, the American correspon-dent of Cahiers du cinéma. Krohn, after investigatingseveral script revisions, notes to other production per-sonnel written by or to Hitchcock alongside inspectionof storyboards, and other production material, has ob-served that Hitchcock’s work often deviated from howthe screenplay was written or how the film was originallyenvisioned. He noted that the myth of storyboards in re-lation to Hitchcock, often regurgitated by generations ofcommentators on his movies, was to a great degree per-petuated by Hitchcock himself or the publicity arm of thestudios. A great example would be the celebrated crop-spraying sequence of North by Northwest which was notstoryboarded at all. After the scene was filmed, the pub-licity department asked Hitchcock to make storyboardsto promote the film and Hitchcock in turn hired an artistto match the scenes in detail.Even when storyboards were made, scenes that were shotdiffered from them significantly. Krohn’s extensive anal-ysis of the production of Hitchcock classics like Notori-ous reveals that Hitchcock was flexible enough to changea film’s conception during its production. Another exam-ple Krohn notes is the American remake of TheManWhoKnew Too Much, whose shooting schedule commencedwithout a finished script and moreover went over sched-ule, something that, as Krohn notes, was not an uncom-mon occurrence on many of Hitchcock’s films, includingStrangers on a Train and Topaz. While Hitchcock did doa great deal of preparation for all his movies, he was fullycognizant that the actual film-making process often devi-ated from the best-laid plans and was flexible to adapt tothe changes and needs of production as his films were notfree from the normal hassles faced and common routinesutilized during many other film productions.Krohn’s work also sheds light on Hitchcock’s practice of

11

generally shooting in chronological order, which he notessent many films over budget and over schedule and, moreimportantly, differed from the standard operating proce-dure of Hollywood in the Studio System Era. Equallyimportant is Hitchcock’s tendency to shoot alternate takesof scenes. This differed from coverage in that the filmswere not necessarily shot from varying angles so as to givethe editor options to shape the film how he/she chooses(often under the producer’s aegis). Rather they repre-sented Hitchcock’s tendency of giving himself optionsin the editing room, where he would provide advice tohis editors after viewing a rough cut of the work. Ac-cording to Krohn, this and a great deal of other infor-mation revealed through his research of Hitchcock’s per-sonal papers, script revisions and the like refute the notionof Hitchcock as a director who was always in control ofhis films, whose vision of his films did not change duringproduction, which Krohn notes has remained the centrallong-standing myth of Alfred Hitchcock.His fastidiousness and attention to detail also found itsway into each film poster for his films. Hitchcock pre-ferred to work with the best talent of his day—film posterdesigners such as Bill Gold and Saul Bass—and kept thembusy with countless rounds of revision until he felt thatthe single image of the poster accurately represented hisentire film.

7.3 Approach to actors

“The length of a film should be directly related to the en-durance of the human bladder.”—Alfred Hitchcock

Similarly, much of Hitchcock’s supposed dislike of actorshas been exaggerated. Hitchcock simply did not toleratethe method approach, as he believed that actors shouldonly concentrate on their performances and leave workon script and character to the directors and screenwrit-ers. In a Sight and Sound interview, he stated that, 'themethod actor is OK in the theatre because he has a freespace to move about. But when it comes to cutting theface and what he sees and so forth, there must be somediscipline'.[132] He often used the same actors in many ofhis films.During the making of Lifeboat, Walter Slezak, whoplayed the German villain, stated that Hitchcock knewthe mechanics of acting better than anyone he knew. Sev-eral critics have observed that despite his reputation as aman who disliked actors, several actors who worked withhim gave fine, often brilliant performances and these per-formances contribute to the film’s success. As more fullydiscussed above, in “Inter-War British Career,” actressDolly Haas, who was a personal friend of Hitchcock andwho acted for him in the 1953 film I Confess, stated thatHitchcock regarded actors as “animated props.”

For Hitchcock, the actors, like the props, were part of thefilm’s setting, as he said to Truffaut:

In my opinion, the chief requisite for an ac-tor is the ability to do nothing well, which isby no means as easy as it sounds. He shouldbe willing to be utilised and wholly integratedinto the picture by the director and the cam-era. He must allow the camera to determinethe proper emphasis and the most effective dra-matic highlights.[133]

Regarding Hitchcock’s sometimes less than pleasant re-lationship with actors, there was a persistent rumour thathe had said that actors were cattle. Hitchcock addressedthis story in his interview with François Truffaut:

I'm not quite sure in what context I mighthave made such a statement. It may have beenmade ... when we used actors who were si-multaneously performing in stage plays. Whenthey had a matinee, and I suspected they wereallowing themselves plenty of time for a veryleisurely lunch. And this meant that we hadto shoot our scenes at breakneck speed so thatthe actors could get out on time. I couldn'thelp feeling that if they'd been really conscien-tious, they'd have swallowed their sandwich inthe cab, on the way to the theatre, and get therein time to put on their make-up and go on stage.I had no use for that kind of actor.[134]

Carole Lombard, tweaking Hitchcock and drumming upa little publicity, brought some cows along with her whenshe reported to the set of Mr. and Mrs. Smith.[134]

In the late 1950s, French New Wave critics, especiallyÉric Rohmer, Claude Chabrol and François Truffaut,were among the first to see and promote Hitchcock’s filmsas artistic works. Hitchcock was one of the first directorsto whom they applied their auteur theory, which stressesthe artistic authority of the director in the film-makingprocess.Hitchcock’s innovations and vision have influenced agreat number of filmmakers, producers, and actors. Hisinfluence helped start a trend for film directors to controlartistic aspects of their movies without answering to themovie’s producer.

8 Awards and honours

Main article: List of awards and nominations receivedby Alfred Hitchcock

Hitchcock was a multiple nominee and winner of anumber of prestigious awards, receiving two Golden

12 9 TELEVISION, RADIO, AND BOOKS

Globes, eight Laurel Awards, and five lifetime achieve-ment awards including the first BAFTA Academy Fel-lowship Award, as well as being five times nominated for,albeit never winning, an Academy Award as Best Direc-tor. His film Rebecca (nominated for 11 Oscars) won theAcademy Award for Best Picture of 1940—particularlynotable as another Hitchcock film, Foreign Correspon-dent, was also nominated that same year.[135]

English Heritage Blue plaque in 153 Cromwell Road, London,SW5 commemorating Hitchcock

In addition to these, Hitchcock received a knighthood in1980 when he was appointed a Knight Commander oftheMost Excellent Order of the British Empire (KBE) byQueen Elizabeth II in the 1980 New Year Honours.[136]Asked by a reporter why it had taken the Queen solong, Hitchcock quipped, “I suppose it was a matter ofcarelessness”.[137] An English Heritage blue plaque, un-veiled in 1999, marks where Sir Alfred Hitchcock lived inLondon at 153 Cromwell Road, Kensington and Chelsea,SW5.[138]

In June 2013, nine restored versions of Hitchcock’s earlysilent films, including his 1925 directorial debut, ThePleasure Garden, were shown at the Brooklyn Academyof Music's Harvey Theater. Known as “The Hitchcock9,” the traveling tribute was made possible by a $3 mil-lion program organized by the British Film Institute.[34]

9 Television, radio, and books

Along with Walt Disney, Hitchcock was among the firstprominent motion picture producers to fully envisage justhow popular the medium of television would become.From 1955 to 1965, Hitchcock was the host and producerof a television series titled Alfred Hitchcock Presents.[139]While his films had made Hitchcock’s name strongly as-sociated with suspense, the TV series made Hitchcock acelebrity himself. His irony-tinged voice and signaturedroll delivery, gallows humour, iconic image and man-nerisms became instantly recognisable and were often thesubject of parody.

The title-sequence of the show pictured a minimalist car-icature of Hitchcock’s profile (he drew it himself; it iscomposed of only nine strokes), which his real silhou-ette then filled. His introductions before the stories inhis program always included some sort of wry humour,such as the description of a recent multi-person executionhampered by having only one electric chair, while two arenow shownwith a sign “Two chairs—nowaiting!". He di-rected 18 episodes of the TV series himself, which airedfrom 1955 to 1965 in two versions. It became The AlfredHitchcock Hour in 1962.The series used a curious little tune as its title-theme. Fu-neral March of a Marionette, by the French composerCharles Gounod (1818–1893),[140][141] the composer ofthe 1859 opera Faust, was suggested to him by composerBernard Herrmann.Arthur Fiedler and the Boston Pops Orchestra includedthe piece on one of their extended play 45-rpm discs forRCA Victor during the 1950s. Alfred Hitchcock Presentswas parodied by Friz Freleng's 1961 cartoon The LastHungry Cat, which contains a plot similar to Blackmail.In the 1980s, a new version of Alfred Hitchcock Presentswas produced for television, making use of Hitchcock’soriginal introductions in a colourised form.Hitchcock appears as a character in the popular juveniledetective book series, Alfred Hitchcock and the Three In-vestigators. The long-running detective series was createdby Robert Arthur, who wrote the first several books, al-though other authors took over after he left the series.The Three Investigators—Jupiter Jones, Bob Andrewsand Peter Crenshaw—were amateur detectives, slightlyyounger than the Hardy Boys. In the introduction to eachbook, “Alfred Hitchcock” introduces the mystery, and hesometimes refers a case to the boys to solve. At the end ofeach book, the boys report to Hitchcock, and sometimesgive him a memento of their case.At the height of Hitchcock’s success, he was also askedto introduce a set of books with his name attached.The series was a collection of short stories by popularshort-story writers, primarily focused on suspense andthrillers. These titles included Alfred Hitchcock’s Anthol-ogy, Alfred Hitchcock Presents: Stories to be Read with theDoor Locked, Alfred Hitchcock’s Monster Museum, AlfredHitchcock’s Supernatural Tales of Terror and Suspense,Alfred Hitchcock’s Spellbinders in Suspense, Alfred Hitch-cock’s Witch’s Brew, Alfred Hitchcock’s Ghostly Gallery,Alfred Hitchcock’s A Hangman’s Dozen, Alfred Hitch-cock’s Stories Not For the Nervous and Alfred Hitchcock’sHaunted Houseful. Hitchcock himself was not actuallyinvolved in the reading, reviewing, editing or selectionof the short stories; in fact, even his introductions wereghost-written. The entire extent of his involvement withthe project was to lend his name and collect a cheque.Some notable writers whose works were used in the col-lection include Shirley Jackson (Strangers in Town, TheLottery), T. H.White (The Once and Future King), Robert

13

Bloch, H. G.Wells (TheWar of theWorlds), Robert LouisStevenson, Sir Arthur Conan Doyle, Mark Twain and thecreator of The Three Investigators, Robert Arthur. Ina similar manner, Hitchcock’s name was licensed for adigest-sized monthly, Alfred Hitchcock’s Mystery Maga-zine, which has been published since 1956.Hitchcock also wrote a mystery story for Look magazinein 1943, “The Murder of Monty Woolley". This was asequence of captioned photographs inviting the readerto inspect the pictures for clues to the murderer’s iden-tity; Hitchcock cast the performers as themselves, such asWoolley, Doris Merrick and make-up man Guy Pearce,whom Hitchcock identified, in the last photo, as the mur-derer. The article was reprinted in Games Magazine inNovember/December 1980.In September 2010, BBC Radio 7 broadcast a seriesof five fifteen-minute programs entitled The Late AlfredHitchcock Presents with Michael Roberts impersonatingAlfred Hitchcock for introductory/concluding commentsand reading the stories in his own voice.[142] These fivestories were originally intended for the television series,but were rejected because of their rather gruesome na-ture:

• “The Waxwork” by A. M. Burrage (broadcast 13September 2010)

• “Sredni Vashtar” by Saki (broadcast 14 September2010)

• “The Perfectionist” byMargaret St. Clair (broadcast15 September 2010)

• “Being a Murderer Myself” by Arthur Williams(broadcast 16 September 2010)

• “The Dancing Partner” by Jerome K. Jerome(broadcast 17 September 2010)

10 Filmography

Main article: Alfred Hitchcock filmography

11 Frequently cast actors and ac-tresses

7 films

• Clare Greet: Number 13 (1922), The Ring (1927),The Manxman (1929), Murder! (1930), The ManWho Knew Too Much (1934), Sabotage (1936), Ja-maica Inn (1939)

6 films

• Leo G. Carroll: Rebecca (1940), Suspicion (1941),Spellbound (1945), The Paradine Case (1947),Strangers on a Train (1951), and North By North-west (1959)

5 films

• Hannah Jones: Downhill (1927), Champagne(1928), Blackmail (1929), Murder! (1930), andRich and Strange (1932)

4 films

• Donald Calthrop: Blackmail (1929), Murder!(1930), Juno and the Paycock (1930), and NumberSeventeen (1932)

• Cary Grant: Suspicion (1941), Notorious (1946),To Catch a Thief (1955), and North By Northwest(1959)

• Edmund Gwenn: The Skin Game (1931), Waltzesfrom Vienna (1934), Foreign Correspondent (1940),and The Trouble with Harry (1955)

• Phyllis Konstam: Champagne (1928), Blackmail(1929),Murder! (1930), and The Skin Game (1931)

• John Longden: Blackmail (1929), Juno and the Pay-cock (1930), The Skin Game (1931), and Young andInnocent (1937)

• James Stewart: Rope (1948), Rear Window (1954),The Man Who Knew Too Much (1956), and Vertigo(1958)

3 films

• Ingrid Bergman: Spellbound (1945), Notorious(1946), Under Capricorn (1949)

• Charles Halton: Foreign Correspondent (1940), Mr.& Mrs. Smith (1941), Saboteur (1942)

• Patricia Hitchcock: Stage Fright (1950), Strangerson a Train (1951), Psycho (1960)

• IanHunter: The Ring (1927),Downhill (1927), EasyVirtue (1928)

• Grace Kelly: Dial M for Murder (1954), Rear Win-dow (1954), and To Catch a Thief (1955)

• Basil Radford: Young and Innocent (1937), TheLady Vanishes (1938), Jamaica Inn (1939)

• John Williams: The Paradine Case (1947), Dial Mfor Murder, (1954), To Catch a Thief (1955)

14 16 NOTES

12 Frequent collaborators

13 Portrayals in film and television

• Anthony Hopkins, in the 2012 film Hitchcock.

• Toby Jones, in the 2012 HBO telefilm The Girl.

• Roger Ashton-Griffiths, in the 2014 film Grace ofMonaco.

Keith Staskiewicz wrote in Entertainment Weekly aboutthe 2012 films, "... Hitchcock was depicted in his twinbiopics as either a charming but troubled genius or a mon-strous sexual obsessive ...”[143]

14 Essays

A total of 46 of Hitchcock’s essays and interviews havebeen republished,[144] including:

• The enjoyment of fear (1949)

• Why I Am Afraid of the Dark (1960)

• On Music in Films (1934)

• Director’s Problems (1938)

• My Most Exciting Picture (1948)

• Hitchcock at Work (1976)

In his 1938 essay Crime Does Not Pay, Hitchcock ex-pounds the theory, citing William Powell and Lionel Bar-rymore as examples, that actors playing heavies prosperand flourish only after they switch from being villains tobeing heroes.

15 See also

• Alfred Hitchcock filmography

• Alfred Hitchcock Presents

• Hitchcockian

• List of Hitchcock cameo appearances

• List of film collaborations

• List of unproduced Hitchcock projects

16 Notes[1] Hamilton, Fiona. “PM hails Christian influence on na-

tional life”. The Times (London). Retrieved 25 June 2013.

[2] Mogg, Ken. “Alfred Hitchcock”. Senses of Cinema. Sens-esofcinema.com. Retrieved 18 July 2010.

[3] “Obituary”. Variety (Variety). 7 May 1980.

[4] Moerbeek, Kees (2006). Alfred Hitchcock: The Master ofSuspense. Simon & Schuster. ISBN 978-1-4169-0467-0.

[5] Life, 19 June 1939, p. 66: Alfred Hitchcock: England’sBest Director starts work in Hollywood. Retrieved 4 Octo-ber 2012

[6] Lehman, David (April–May 2007). “Alfred Hitchcock’sAmerica”. American Heritage. Retrieved 21 July 2010.

[7] Bays, Jeff (December 2007). “Film Techniques of AlfredHitchcock”. Borgus.com. Borgus Productions. Retrieved13 July 2010.

[8] Whitington, Paul (18 July 2009). “NOTORIOUS! (Hitch-cock and his icy blondes)". The Irish Independent. Re-trieved 13 July 2010.

[9] Dowd, Maureen (1 December 2012). “Spellbound byBlondes, Hot and Icy”. New York Times. Retrieved 13November 2013.

[10] Avedon, Richard (14 April 2007). “The top 21 British di-rectors of all time”. The Daily Telegraph (UK). Retrieved8 July 2009. Unquestionably the greatest filmmaker toemerge from these islands, Hitchcock did more than anydirector to shape modern cinema, which would be utterlydifferent without him. His flair was for narrative, cruellywithholding crucial information (from his characters andfrom the audience) and engaging the emotions of the au-dience like no one else.

[11] “British Directors”. RSS Film studies. Retrieved 11 June2008.

[12] Wood, Jennifer (6 July 2002). “The 25 Most InfluentialDirectors of All Time”. MovieMaker. Moviemaker.com.Archived from the original on 8 June 2011. Retrieved 26April 2011.

[13] “The Directors’ Top Ten Directors”. British Film Insti-tute. Archived from the original on 14 May 2011. Re-trieved 10 May 2011.

[14] “Alfred Hitchcock profile at”. Filmreference.com. Re-trieved 28 May 2013.

[15] “Death and the Master”. Vanity Fair. April 1999.Archived from the original on 28 November 2010. Re-trieved 30 December 2010.

[16] “Welcome to St. Ignatius College”. Archived from theoriginal on 15 March 2008. Retrieved 5 March 2008.

[17] Patrick McGilligan, p. 7

[18] Spoto, Donald (1999). The Dark Side of Genius: The Lifeof Alfred Hitchcock. Da Capo Press. p. 15. ISBN 978-0-306-80932-3.

15

[19] Patrick McGilligan, pp. 18–19

[20] “The Dick Cavett Show”. 8 June 1972.

[21] “Hollywood in the Hills”. Sentinel Staff Report. 24 July2005. Retrieved 5 March 2008.

[22] Patrick McGilligan, pp. 7–8

[23] Patrick McGillang, p. 25. The school is now part ofTower Hamlets College.

[24] Patrick McGilligan, pp. 24–25

[25] Hitchcock, Alfred. A life in Darkness. pp. 25–26.

[26] McGilligan, Patrick (2004). Alfred Hitchcock: A Life inDarkness and Light. books.google.com (HarperCollins).p. 34.

[27] Patrick McGilligan, pp. 30–45

[28] “Local Inspiration for Movie Classics: Hitchcock hadLink to Santa Cruz”. Santa Cruz Public Libraries, Ca.Archived from the original on 5 September 2007. Re-trieved 4 March 2008.

[29] “Gainsborough Pictures (1924–51)". British Film Insti-tute ScreenOnline. Retrieved 6 March 2008.

[30] Patrick McGilligan, pp. 46–51

[31] The White Shadow (YouTube)

[32] Truffaut 1984

[33] Sidney Gottlieb (ed), Alfred Hitchcock: Interviews By Al-fred Hitchcock. Illustrated Edition. (Univ. Press of Mis-sissippi, 2003). pp. 157–158.

[34] Kehr, Dave (23 June 2013). “Hitchcock, Finding HisVoice in Silents”. The New York Times. Retrieved 29 June2013.

[35] Donald Spoto. The Art of Alfred Hitchcock. New York:Anchor Books, 1976–1992. p. 3 ISBN 978-0-385-41813-3

[36] “Balcon, Michael (1896–1977) Executive Producer”.British Film Institute ScreenOnline. Archived from theoriginal on 14 February 2008. Retrieved 6 March 2008.

[37] Patrick McGilligan, pp. 68–71

[38] Donald Spoto. The Art of Alfred Hitchcock. New York:Anchor Books, 1976–1992. p. 5 ISBN 978-0-385-41813-3

[39] Robert A. Harris, Michael S. Lasky. “The films of AlfredHitchcock”. p.6. Citadel Press, 1976

[40] See Robert E. Kapsis, Hitchcock: The Making of a Repu-tation. Illustrated Edition. (University of Chicago Press,1992). p. 19

[41] Alan Jones (2005) The rough guide to horror movies p. 20.Rough Guides, 2005

[42] “Hitchcockian Stuff”. Alfredsplace.com. Retrieved 6March 2008.

[43] Gleiberman, Owen (7 January 2006). “Ask the Critic –The Hitch Is Back-What, exactly, makes a filmHitchcock-ian.”. Entertainment Weekly (EW.COM). Archived fromthe original on 7 June 2011. Retrieved 26 April 2011.

[44] Patrick McGilligan, p. 85

[45] Chandler, Charlotte (2006). It’s only a movie: AlfredHitchcock: a personal biography. Hal Leonard Corpora-tion.

[46] Rob White, Edward Buscombe. British Film Institute filmclassics, Volume 1 p. 94. Taylor & Francis, 2003

[47] Richard Allen, S. Ishii-Gonzalès. Hitchcock: past and fu-ture. p.xv. Routledge, 2004

[48] Music hall mimesis in British film, 1895–1960: on thehalls on the screen p.79. Associated University Presse,2009

[49] Walker, Michael (2005). Hitchcock’s motifs. p.88. Am-sterdam University Press

[50] “American Masters-Alfred Hitchcock”. Public Broad-casting System. Archived from the original on 19 March2008. Retrieved 5 March 2008.

[51] Patrick McGilligan, pp. 120–123

[52] “Gaumont-British Picture Corporation”. British Film In-stitute. Archived from the original on 20 February 2008.Retrieved 6 March 2008.

[53] “The British Film Institute 100”. Archived from the orig-inal on 14 May 2011. Retrieved 26 April 2011.

[54] “From Hollywood starlet to wartime angel”. Daily Mail.Retrieved 16 February 2014

[55] Patrick McGilligan, p. 158

[56] “Lions of British Cinema-Sir Alfred Joseph Hitchcock,(13 August 1899 – 29 April 1980)". AvantGarde-Now.com. Archived from the original on 9 October 2007.Retrieved 6 March 2008.

[57] “My favourite Hitchcock: The Lady Vanishes”. TheGuardian. Retrieved 16 January 2015

[58] “The Lady Vanishes”. Turner Classic Movies. Retrieved22 January 2013.

[59] “Awards for The Lady Vanishes”. Internet MovieDatabase. Retrieved 22 January 2013.

[60] “The 49 best British films of all time”. The Telegraph.Retrieved 16 January 2015

[61] Patrick McGilligan, pp. 210–211, 277; American MovieClassics

[62] Leff, 1999. p. 16

[63] Leff, 1999. p. 21.

[64] Leff, 1999. p. 35.

[65] Sidney Gottlieb, Alfred Hitchcock: Interviews By AlfredHitchcock. Illustrated Edition. (Univ. Press of Missis-sippi, 2003). p. 206.

16 16 NOTES

[66] Leff, 1999. p. 30.

[67] “Awards for Rebecca (1940)". Internet Movie Database.Retrieved 7 March 2008.

[68] Patrick McGilligan, pp. 251–252

[69] Patrick McGilligan, p. 253

[70] Duncan, Paul (2003). Alfred Hitchcock: architect of anx-iety, 1899–1980. p.90. Taschen, 1 November 2003

[71] Patrick McGilligan, p. 244

[72] “Joan Fontaine”. Hollywood.com. Archived from theoriginal on 25 March 2008. Retrieved 5 March 2008.

[73] Tom Scott Cadden (1984). “What a bunch of characters!:an entertaining guide to who played what in the movies”.p. 131. Prentice-Hall,

[74] Thomas Leitch, The Encyclopedia of Alfred Hitchcock,Facts on File, New York, pp. 324–325, ISBN 978-0-8160-4386-6

[75] Patrick Humphries (1994). “The Films of Alfred Hitch-cock”. p. 71.Random House Value Pub,

[76] ""Have You Heard?": The Story of Wartime Rumors”.Life. 13 July 1942. pp. 68–73. Retrieved 17 November2011.

[77] In an interview on the Dick Cavett show aired on 8 June1972, when asked if he had a personal favourite, Hitch-cock responded that it was Shadow of a Doubt.

[78] Leitch, p. 181

[79] Patrick McGilligan, p. 343

[80] “Alfred Hitchcock’s Bon Voyage & Aventure malgache”.Milestone Films. Retrieved 11 February 2014.

[81] Patrick McGilligan, pp. 346–348

[82] Jeffries, Stuart (9 January 2015). “The Holocaust film thatwas too shocking to show”. The Guardian. Retrieved 1February 2015.

[83] “Memory of the Camps: Frequently Asked Questions”.PBS.

[84] Patrick McGilligan, pp. 372–374

[85] “Memory of the Camps”. FRONTLINE. Public Broad-casting System (PBS). Retrieved 20 July 2014.

[86] Boyd, David (2000). “The Parted Eye: Spellbound andPsychoanalysis”.

[87] Leitch, p. 310

[88] Leff, Leonard J. (1987). Hitchcock and Selznick. Uni-versity of California Press. pp. 164–165. ISBN 0-520-21781-0.

[89] Patrick McGilligan, pp. 366–381

[90] “Warner Bros. Studios”. Retrieved 6 March 2008.

[91] Patrick McGilligan, pp. 429, 774–775

[92] Leitch, p. 320

[93] Leitch, p.322

[94] Leitch, pp. 78–80

[95] Leitch, p. 269

[96] Patrick Mcgilligan, p. 512

[97] Leitch, p. 366

[98] Royal S. Brown (1994). “Overtones and Undertones:Reading Film Music”. p. 75. University of CaliforniaPress, 1994

[99] Leitch, p. 377

[100] Leitch, pp. 376–377

[101] “Donostia Zinemaldia Festival de San Sebastian Interna-tional Film Festival”. Archived from the original on 6March 2008. Retrieved 6 March 2008.

[102] “Hitchcock’s America Lifelong Learning Institute-Fall2001: Hitchcock Filming Sites and Points of Interest inthe US”. Sonoma State University. Retrieved 5 March2008.

[103] Leitch, p. 234

[104] Leitch, p. 260

[105] Leitch, p. 261

[106] Leitch, p. 262

[107] Leigh, Janet with Christopher Nickens. Psycho: Behindthe Scenes of the Classic Thriller. Harmony Press, 1995.

[108] Stephen Rebello, Alfred Hitchcock and the Making of Psy-cho, Soft Skull Press, Berkeley, 1990.

[109] Leitch, p. 32

[110] Leitch, p. 33

[111] Goldman, Andrew (5 October 2012). “The Revenge ofAlfred Hitchcock’s Muse”. New York Times.

[112] Millard, Rosie (27 July 2012). “Hitchcock’s girl”. Finan-cial Times (Pearson PLC). Retrieved 19 January 2013.

[113] Moral, Tony Lee. Hitchcock and the Making of Marnie,Scarecrow Pres, 2013 (Revised Edition), p 265. ISBN978-0-8108-9107-4

[114] Crum, Amanda (2 October 2012). “Tippi Hedren: AlfredHitchcock Was “Evil” And “Dangerous"". Retrieved 24October 2012.

[115] Millward, David (26 December 2012). “BBC under fireover Hitchcock drama”. The Daily Telegraph. Retrieved4 January 2013.

[116] Rushfield, Richard (8 October 2012). “Kim Novak tellsall”. The Daily Telegraph (Telegraph Media Group). Re-trieved 23 January 2014.

[117] Leigh, Janet with Christopher Nickens.

17

[118] Leitch, p. 114

[119] Leitch, p. 115

[120] Patrick McGilligan, p. 249

[121] Patrick McGilligan, pp. 731–734

[122] Freeman, David (1999). The Last Days of Alfred Hitch-cock. Overlook. ISBN 978-0-87951-728-1.

[123] Patrick Mcgilligan (2010). “Alfred Hitchcock: A Life inDarkness and Light”. p. 745. Harper Collins

[124] Henninger, Mark (6 December 2012). “Alfred Hitch-cock’s Surprise Ending”. The Wall Street Journal.Archived from the original on 7 February 2013.

[125] Flint, Peter B. (30 April 1980). “Alfred Hitchcock Dies;A Master of Suspense; Alfred Hitchcock, Master of Sus-pense and Celebrated Film Director, Dies at 80 Increas-ingly Pessimistic Sought Exotic Settings Technical Chal-lenges Became a Draftsman Lured to Hollywood”. TheNew York Times. Retrieved 7 March 2008.

[126] McDevitt, Jim; Juan, Eric San (1 April 2009). A Year ofHitchcock: 52 Weeks with the Master of Suspense. Scare-crow Press. p. 369. ISBN 978-0-8108-6389-7.

[127] Raubicheck, Walter; Srebnick, Walter (1991).Hitchcock’s Rereleased Films: From Rope to Ver-tigo. Wayne State University Press. p. 122. ISBN0-8143-2326-X.

[128] Kehr, Dave (2011). When Movies Mattered: Reviewsfrom a Transformative Decade. Chicago: University ofChicago Press. p. 259. ISBN 978-0-226-42940-3.

[129] [Dick Cavett Show interview, 8 June 1972]

[130] “Hitchcock: “Never mess about with a dead body – youmay be one ..."". Rogerebert.suntimes.com. 14 Decem-ber 1969. Retrieved 26 July 2009.

[131] Steven DeRosa,Writing with Hitchcock, New York: Faberand Faber, 2001, p. xi.

[132] “Alfred Hitchcock”. BFI (Because Films Inspire).Archived from the original on 10 February 2008. Re-trieved 4 March 2008.

[133] Truffaut 1984, p. 153

[134] Truffaut 1984, p. 140

[135] “The 13th Academy Awards (1941) Nominees and Win-ners”. 2012 Academy of Motion Picture Arts and Sci-ences

[136] Adair, Gene. “Alfred Hitchcock: Filming Our Fears”. p.145. Oxford University Press, 2002

[137] Haley, Michael. “The Alfred Hitchcock album”. p. 2.Prentice-Hall, 1981

[138] “Sir Alfred Hitchcock 1899–1980 film director lived here1926–1939”. English Heritage. Retrieved 19 November2012.

[139] “Alfred Hitchcock Presents”. TV.COM. Archived fromthe original on 25 January 2008. Retrieved 5March 2008.

[140] “Alfred Hitchcock (suspense anthology)". Media Man-agement Group. Archived from the original on 21 Febru-ary 2008. Retrieved 4 March 2008.

[141] “Filmography by year for Charles Gounod”. InternetMovie Database. Retrieved 4 March 2008.

[142] “The Late Alfred Hitchcock Presents”. BBC Radio 4 Ex-tra.

[143] Staskiewicz, Keith. “This Was The Year That EveryoneWas Obsessed with Lincoln & Hitchcock.” EntertainmentWeekly, 28 December 2012, p. 19.

[144] Hitchcock on Hitchcock: Selected Writings and Interviews,University of California Press, 46 republished essays andinterviews, 4 November 1997

17 References

• Leff, Leonard J: The Rich and Strange Collaborationof Alfred Hitchcock and David O. Selznick in Holly-wood. University of California Press, 1999

• Leitch, Thomas: The Encyclopedia of Alfred Hitch-cock (ISBN 978-0-8160-4387-3). CheckmarkBooks, 2002. A single-volume encyclopaedia of allthings about Alfred Hitchcock.

• McGilligan, Patrick: Alfred Hitchcock: A Life inDarkness and Light. Regan Books, 2003. A com-prehensive biography of the director.

18 Further reading

• Auiler, Dan: Hitchcock’s notebooks: an authorisedand illustrated look inside the creative mind of AlfredHitchcock. New York, Avon Books, 1999. Muchuseful background to the films.

• Barr, Charles: English Hitchcock. Cameron & Hol-lis, 1999. On the early films of the director.

• Clues: A Journal of Detection'31.1 (2013). Themeissue on Hitchcock and adaptation.

• Conrad, Peter: The Hitchcock Murders. Faber andFaber, 2000. A highly personal and idiosyncraticdiscussion of Hitchcock’s oeuvre.

• DeRosa, Steven: Writing with Hitchcock. Faberand Faber, 2001. An examination of the collab-oration between Hitchcock and screenwriter JohnMichael Hayes, his most frequent writing collabora-tor in Hollywood. Their films include Rear Windowand The Man Who Knew Too Much.

18 18 FURTHER READING

• Deutelbaum, Marshall; Poague, Leland (ed.): AHitchcock Reader. Iowa State University Press,1986. A wide-ranging collection of scholarly essayson Hitchcock.

• Durgnat, Raymond: The strange case of AlfredHitchcock Cambridge, Massachusetts: MIT Press,1974 OCLC 1233570

• Durgnat, Raymond; James, Nick; Gross, Larry:Hitchcock British Film Institute, 1999 OCLC42209162

• Durgnat, Raymond: A long hard look at PsychoLondon: British Film Institute Pub., 2002 OCLC48883020

• Giblin, Gary: Alfred Hitchcock’s London. MidnightMarquee Press, 2006, (Paperback: ISBN 978-1-887664-67-7)

• Gottlieb, Sidney: Hitchcock on Hitchcock. Faberand Faber, 1995. Articles, lectures, etc. by Hitch-cock himself. Basic reading on the director and hisfilms.

• Gottlieb, Sidney: Alfred Hitchcock: Interviews.University Press of Mississippi, 2003. A collectionof Hitchcock interviews.

• Grams, Martin, Jr. &Wikstrom, Patrik: The AlfredHitchcock Presents Companion. OTR Pub, 2001,(Paperback: ISBN 978-0-9703310-1-4)

• Haeffner, Nicholas: Alfred Hitchcock. Longman,2005. An undergraduate-level text.

• Hitchcock, Patricia; Bouzereau, Laurent: AlmaHitchcock: The Woman Behind the Man. Berkley,2003.

• Henry Keazor (ed.): Hitchcock und die Künste,Schüren, Marburg 2013, ISBN 978-3-89472-828-1. Examines the way Hitchcock was inspired byother arts such as literature, theatre, painting, archi-tecture, music and cooking, used them in his films,and how they then inspired other art forms such asdancing and media art.

• Krohn, Bill: Hitchcock at Work. Phaidon, 2000.Translated from the award-winning French edition.The nitty-gritty of Hitchcock’s filmmaking fromscripting to post-production.

• Leff, Leonard J.: Hitchcock and Selznick. Weiden-feld & Nicolson, 1987. An in-depth examination ofthe rich collaboration between Hitchcock and DavidO Selznick.

• Loker, Altan: Film and Suspense. Trafford Publish-ing, 2006. (ISBN 978-1-4120-5840-7). Discussesthe psychological means by which Hitchcock cre-ated the sense of reality in his works and manipu-lated his audience.

• McDevitt, Jim; San Juan, Eric: A Year of Hitchcock:52 Weeks with the Master of Suspense. ScarecrowPress, 2009, (ISBN 978-0-8108-6388-0). A com-prehensive film-by-film examination of Hitchcock’sartistic development from 1927 through 1976.

• Modleski, Tania: TheWomenWhoKnewTooMuch:Hitchcock And Feminist Theory. Routledge, 2005(2nd edition). A collection of critical essays onHitchcock and his films; argues that Hitchcock’sportrayal of womenwas ambivalent, rather than sim-ply misogynist or sympathetic (as widely thought).

• Mogg, Ken. The Alfred Hitchcock Story. Titan,2008 (revised edition). Note: the original 1999 UKedition, from Titan, and the 2008 re-issue world-wide, also from Titan, have significantly more textthan the 1999 abridged US edition from Taylor Pub-lishing. New material on all the films.

• Moral, Tony Lee. Hitchcock and the Makingof Marnie, Scarecrow Press, 2013 (Revised Edi-tion), 340 p. (ISBN 978-0-8108-9107-4). Well-researched book on the making of Hitchcock’s“Marnie”.

• Paglia, Camille. The Birds. British Film Institute,January 2008 ISBN 978-0-85170-651-1

• Poague, Leland and Thomas Leitch: A Companionto Alfred Hitchcock. Wiley-Blackwell, 2011. Col-lection of original essays by leading scholars exam-ining all facets of Hitchcock’s influence

• Rebello, Stephen: Alfred Hitchcock and the Mak-ing of Psycho. St. Martin’s, 1990. Intimately re-searched and detailed history of the making of Psy-cho,.

• Rohmer, Eric; Chabrol, Claude. Hitchcock, the firstforty-four films (ISBN 978-0-8044-2743-2). F. Un-gar, 1979. First book-long study of Hitchock art andprobably still the best one.

• Rothman, William. The Murderous Gaze. Har-vard Press, 1980. Auteur study that looks at severalHitchcock films intimately.

• San Juan, Eric; McDevitt, Jim: Hitchcock’s Villains:Murderers, Maniacs, and Mother Issues. ScarecrowPress, 2013, (ISBN 978-0-8108-8775-6). An in-depth analysis of the villains who were critically im-portant to Hitchcock’s films and were often emblem-atic of Hitchcock himself.

• Spoto, Donald: TheArt of AlfredHitchcock. AnchorBooks, 1992. The first detailed critical survey ofHitchcock’s work by an American.

• Spoto, Donald: The Dark Side of Genius. BallantineBooks, 1983. A biography of Hitchcock, featuring acontroversial exploration of Hitchcock’s psychology.

19

• Sullivan, Jack: Hitchcock’s Music. Yale UniversityPress, 2006. The first book to fully explore the rolemusic played in the Hitchcock’s films. ISBN 0-300-11050-2

• Truffaut, François (1984) [1967]. Hitchcock byTruffaut: A Definitive Study of Alfred Hitchcock.Simon and Schuster/Touchstone Book. OCLC10913283. A series of interviews of Hitchcock bythe influential French director.

• Vest, James: Hitchcock and France: The Forging ofan Auteur. Praeger Publishers, 2003. A study ofHitchcock’s interest in French culture and the man-ner by which French critics, such as Truffaut, cameto regard him in such high esteem.

• Weibel, Adrian: Spannung bei Hitchcock. Zur Funk-tionsweise der auktorialen Suspense. (ISBN 978-3-8260-3681-1) Würzburg: Königshausen & Neu-mann, 2008

• Wikstrom, Patrik & Grams, Martin, Jr.: The AlfredHitchcock Presents Companion. OTR Pub, 2001,(Paperback: ISBN 978-0-9703310-1-4)

• Wood, Robin: Hitchcock’s Films Revisited.Columbia University Press, 2002 (2nd edition).A much-cited collection of critical essays, nowsupplemented and annotated in this second editionwith additional insights and changes that time andpersonal experience have brought to the author(including his own coming-out as a gay man).

• Youngkin, Stephen D. (2005). The Lost One: A Lifeof Peter Lorre. University Press of Kentucky. ISBN978-0-8131-2360-8. Contains interviews with Al-fred Hitchcock and a discussion of the making ofThe Man Who Knew Too Much (1934) and SecretAgent (1936), which co-starred classic film actorPeter Lorre.

• Žižek, Slavoj: Everything You Always Wanted toKnow About Lacan ... But Were Afraid to Ask Hitch-cock, London: Verso, 1993

19 External links• Alfred Hitchcock at the BFI

• Alfred Hitchcock at the Internet Movie Database

• Alfred Hitchcock at AllMovie

• Alfred Hitchcock at the TCM Movie Database

• Alfred Hitchcock at the British Film Institute'sScreenonline

• AlfredHitchcock papers at theMargaret Herrick Li-brary

20 20 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

20 Text and image sources, contributors, and licenses

20.1 Text• Alfred Hitchcock Source: http://en.wikipedia.org/wiki/Alfred%20Hitchcock?oldid=651398321 Contributors: Paul Drye, Kpjas, Brion

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