\, by FRANc;OIS TRUFFAUT With the Collaboration of HELEN G. scon REVISEDEDITION ATOUCHSTONEBOOK Published by Simon&Schuster NewYorkLondonTorontoSvdnnTohoSingapore Copyright1983byFrancois'lruffaut andEditionsRamsay Englishlanguagetranslationcopyright1984byFranc;oisTruffaut Allrightsreserved includingtherightof reproduction inwholeor inpartinanyform FirstTouchstoneEdition,1985 PublishedbySimon&Schuster,Inc. Rockefeller Center 1230Avenue of theAmericas NewYork,NewYork10020 TOUCHSTONE and colophonareregisteredtrademarks of Simon&Schuster,Inc. FirstpublishedinFrancein1983byEditionsRamsay underthetitleHitchcockrlrulfaut ManufacturedintheUnitedStates of America 10 9 8 7 6 5 4 3 2I 171819 20Pbk. Library of Congress CataloginginPublicationData Truffaut,Franc;ois. Hitchcock. DialoguebetweenTruffautand Hitchcrxk. Translationof LecinemaselonHitchcock. Includesindex. 1.Hitchcock,Alfred,1899-19801.Hitchcock, Alfred,1899-1980IIScott,HelenC111.Title PNI998.A3H5731984791.43'0233'092484-10686 ISBN0-671-52601-4 ISBN0-671-00429-5Pbk. Thephotographsillustratingthisbookwerepublishedwiththe kind permission of Alfred Hitchcock (producer), for the filmNumber Thirteen,distributed by W.andF.of London.Michael Bakon (producer),for the filmsThe White Shadow,distributed byW.and F.ofLondonandSelznickDistributingCorp.oftheU.S.A.; Womanto Woman,distributed byW.and F.of London andSelznickDistributingCorp.of theU.S.A.;PleasureGarden,distributedbyW.andF.ofLondonandAywonIndependent DistributorsoftheU.S.A.;TheMountainEagle,distributedby W.andF.of LondonandArtleeIndependent Distributors of the U.S.A.;TheLodger,distributedbyW.andF.ofLondonand Amer-Anglo Gorp.of the U. S.A.; Downhill, distributed by W.and F.of LondonandWorldWideDistributorsof theU.S.A.;Easy Virtue,distributedbyW.andF.ofLondonandWorldWide DistributorsoftheU. S.A.JohnMaxwell,BritishInternational Pict.(prod.),forthe films:The Ring, distributedbyWardour; The Farmer'sWife,distributedbyWardourandUfaEasternDivision oftheU.S.A.;Champagne,distributedbyWardour;TheManxman,distributedbyWardourandUfaEasternDivisionofthe U.S.A.;Blackmail,distributedbyWardourandSonoArtWorld Pictures ofthe U.S.A.; Junoand the Paycock,distributed by Wardour andBritishInternationalof theU.S.A.;Murder,distributed byWardourandBritishInternationaloftheU.S.A.;TheSkin Game,distributedbyWardourandBritishInternationalofthe U.S.A.;RichandStrange,distributedbyWardourandPowers PicturesoftheU.S.A.;NumberSeventeen,distributedbyWardour.AlfredHitchcock,British International Picf.(prod.),forthe filmLord Camber'sLadies,distributedbyWardour.Tom Arnold, GaumontBritishproduction,forthefilmWaltzesfromVienna, distributedbyGaumontFilmDistribution,TomArnoldofthe U.S.A.MichaelBakonandIvorMontagu,G.B.Prod.,forthe films:TheManWhoKnewToo Much(1stversion),distributed by GaumontFilmDistributionG.B.of theU.S.A.;TheThirty-nine Steps,distributedbyGaumontFilmDistributionG.B.Productionsof theU.S.A.;SecretAgent,distributedbyGaumontFilm DistributionG.B.ProductionsoftheU.S.A.;Sabotage,distributedbyGaumontFilmDistributionG.B.Productionsofthe U.S.A.Edward Black-Gainsborough, Gaumont British Picture for thefilmYoungandInnocent,distributedbyGaumontFilmDistribution,G.B.Productionsof theU.S.A.EdwardBlack-GainsboroughPicture,forthefilmTheLadyVanishes,distributedby M.G.M.inEnglandandG.B.ProductionsintheU.S.A.Eric PommerandCharlesLaughton,MayflowerProd.,forthefilm JamaicaInn,distributedbyAssociatedBritish,Paramount of the U.S.A.DavidO.Selznick,forthefilmsRebecca,distributedby UnitedArtists,andSpellbound,distributedbyUnitedArtists. Walter Wanger,forForeignCorrespondent,distributed byUnited Artists.HarryEdington,forthe filmMr.and Mrs.Smith,distributedbvRKO.RKO.forthefilmSuspicion,distributedby R.K.O.FrankLloydandJackH.Skirball,forthe filmShadowof aDoubt,distributedbyUniversal.KennethMacgowan,forthe filmLifeboat,distributedby 20th Century-Fox.British Ministry of Information,forthefilmsBonVoyageandAventureMal;;:ache. AlfredHitchcock,forthefilmNotorious,distributedbyR. K.O. DavidO.Selznick,forthe filmTheParadine Case,distributedby SelznickReleasingOrganization.HitchcockandSidneyBernstein,TransatlanticPicture,forthefilms:Rope,distributedby WarnerBrothers;Under Capricorn,distributedbyWarnerBrothers.AlfredHitchcock,forthefilms:StageFright,distributedby WarnerBrothers;StrangersonaTrain,distributedbvWarner Brothers;IConfess,distributedbyWarnerBrothers;DialMfor Murder,distributedbyWarner Brothers; Rear Window,distributed byParamount;ToCatchaThief,distributedbyParamount;The TroublewithHarry,distributedbyParamount;TheManWho KnewTooMuch(2ndversion),distributedbyParamount;The WrongMan,distributedbyWarnerBrothers; Vertigo,distributed byParamount; NorthbyNorthwest,distributedbyM.G.M.;Psycho,distributedbyParamount; TheBirds,distributedbyUniversal;Mamie,distributedbyUniversal; TornCurtain,distributed by Universal.PhilippeHalsman,forallthephotographsillustrating theconversationsof A.HitchcockandF.Truffaut,Philippe Halsman1963. ACKNOWLEDGMENT Wewishtothank allthose who helped in conceiving, completingorillustratingthisbook:AimeeAlexandre,Fanny Ardant,Emmanuele Bernheim,Peter Bogdanovich,Rene Bonnell,RaymondCauchetier,CarlosClarens,Josiane Couedel,RogerDagieu,L'Express,OdetteFerry,Lucette deGivray,PhilippeHalsman,MoniqueHolveck,ChristopheL.,Jean-Franc;oisLentretien,LydieMahias,MadeleineMorgenstern,ChristinePelle,GeorgePerry,Peggy Robertson,Laura Truffaut-Wong,OliverVaughan,Alain Venisse,CahiersduCinema,CinemathequeFranc;aise, Cinematheque Royale de Belgique, The Museum of Modern Art,NewYork,NationalFilmArchive,London. 5 r:1M,vclt 4) cWtNt Qd'e53J6ofJL{ tofafAA-rAo..H"vcA.c 0e.-k0/U>/,ff,te1/ f/1'T CONTENTS Prefacetothe RevisedEdition11WaltzesfromViennaThelowestebb Introduction.13andthe comeback.63 1:ChildhoodBehindprisonbars"Came thedawn"MichaelBaleon Womanto WomanNumberThirteenIntroducing thefutureMrs.HitchcockAmelodramatic shooting:ThePleasureGarden The MountainEagle25 4.TheManWhoKnewTooMuchWhen Churchillwaschief of policeMFrom "TheOneNoteMan"tothedeadlycymbals Clarificationand simplification The Thirty-nineStepsJohnBuchan'sinfluenceUnderstatementAnold,bawdy story Mr.Memory Sliceof lifeand slice of cake89 2:The firsttrue Hitchcock: The Lodger Creatinga purely visualform The glassfloor Handcuffsandsex WhyHitchcockappearsinhisfilmsDownhill Easy Virtue TheRingandOne-RoundJackThe Farmer'sWifeTheGriffithinfluence ChampagneThelastsilentmovie:The Manxman.43 5.TheSecretAgent Youdon'talwaysneed ahappyendingWhatdotheyhavein Switzerland? Sabotage The childand the bomb Anexample of suspense The Lad)' VanishesTheplausiblesAwirefrom DavidO.Selznick ThelastBritishfilm: JamaicaInn Some conclusions about the Britishperiod.105 3:Hitchcock'sfirstsoundfilm:Blackmail TheShuftanprocessJunoandthePaycockWhyHitchcockwillneverfilm CrimeandPunishmentWhatissuspense?MurderTheSkinGameRich andStrangeTwoinnocentsinParis Number Seventeen Cats,catseverywhere 6:Rebecca:ACinderella-likestory"I've neverreceivedanOscar" ForeignCorrespondent Gary Cooper's mistake InHolland,windmillsandrainThebloodstainedtulipWhat'saMacGuffin? FlashbacktoTheThirty-nineSteps Mr.andMrs.Smith"Allactorsare 8 cattle"SuspicionTheluminousglass of milk127 7:SabotageversusSaboteur' A mass of ideas cluttersup apicture' Shadowof a Doubt Tributeto ThorntonWilder' "The Merry Widow"AnidealistickillerLifeboat Amicrocosmof war' Likeapackof dogs ReturntoLondonModestwarcontribution:BonVoyageandAventure Malgache.145 8:ReturntoAmericaSpellboundCollaborationwithSalvadorDaliNotorious' ''TheSongof theFlame" Theuranium MacGuffinUndersurveillancebythe FBI A filmaboutthecinema' TheParadineCase' CanGregoryPeckplaya Britishlawyer?AnintricateshotHorny hands,likethe devil!163 9:Rope:From7:30to9:15inoneshot Clouds of spun glass Colorsand shadows Wallsthat fadeaway' Filmsmust becut Howtomakenoisesrisefromthe street UnderCapricornInfantilismandother errorsinjudgment Runforcover! "Ingrid,it'sonly a movie!" Stage Fright The flashbackthat lied' The betterthevillain, thebetter the picture179 10:SpectacularcomebackviaStrangersona Train' A monopoly onthe suspense genre ThelittlemanwhocrawledAbitchy wife' 1 Confess A "barbaric sophisticate" Thesanctityof confessionExperience aloneisn o ~ enough Fearof thepolice' Story of amenage d trois193 11:DialMforMurder'Filmingin3-D' The theater confinestheaction' RearWindow TheKuleshovexperimentWeareall voyeurs'Deathof asmalldog The size of theimagehasa dramaticpurpose' The surprise kissversusthe suspense kiss' The PatrickMahoncaseandtheDr.Crippen case' ToCatcha Thief Sex on the screen TheTroublewithHarryThehumorof understatement TheManWhoKnewToo MuchAknifeintheback'Theclash of cymbals209 12:TheWrongMan'Absoluteauthenticity' Vertigo'Theusualalternatives:suspense orsurprise'Necrophilia'KimNovakon thesetTwoprojectsthatwerenever filmed A politicalsuspensemovie' North byNorthwestTheimportanceof photographicdocumentationDealingwith timeandspaceThepracticeofthe absurdThebodythatcamefromnowhere235 13:Ideas inthe middle of the night The longestkissinscreenhistory'Acaseof pure exhibitionism' Never waste space' Screen imageryismake-believePsychoJanet Leigh'sbrassiere' Red herrings Directing the audience' How Arbogast waskilled A showerstabbing'Stuffedbirds'Howto get massemotions' Psycho:A film-maker's film259 14:TheBirds' The elderlyornithologist The gouged-out eyes' The girlina gildedcage Improvisations' Thesizeof theimage' ThescenethatwasdroppedAnemotionaltruck' Electronicsounds' Practical jokes.285 15:Mamie'Afetishistlove' TheThreeHostages,MaryRose,andRRRRTorn Curtain' The bus isthe villain' The scene inthefactory'Everyfilmisabrand-new experience' Therisingcurve' The situation filmversusthe character film' "I only readtheLondon Times" A strictlyvisual mind HitchcockaCatholicfilm-maker? Adreamforthefuture:Afilmshowingtwenty-fourhoursinthelifeofa c i ~ IDI 16:Hitchcock's finalyears' Grace Kellyabandons the cinema' More on The Birds,Marnie,andTornCurtain'Hitchmissesthe stars' The "great flawedfilms" A project that wasdropped' Topaz made to order for thefrontoffice'ReturntoLondonwith Frenzy' The pacemaker and FamilyPlot Hitchcockladendownwithtributesand honorsLoveandespionageTheShort Night Hitchcock isill,Sir Alfredisdead' The end323 The Filmsof AlfredHitchcock351 SelectedBibliography363 Indexof Film Titles364 Indexof Names365 9 PREFACETOTHEREVISED EDITION Nowadays,theworkof AlfredHitchcockisadmired allover the world.Young people who arejust discoveringhisartthroughthecurrentrereleaseofRear WindowandVertigo,orthroughNorthbyNorthwest,mayassumehisprestigehasalwaysbeenrecognized,but thisisfarfrombeing the case. Inthe fiftiesand sixties,Hitchcock wasat the height ofhiscreativityandpopularity.Hewas,of course, famousduetothepublicitymastermindedbyproducerDavidO.Selznickduringthesixorseven yearsof their collaboration on such filmsasRebecca, Notorious,Spellbound,and TheParadineCase. Hisfamehadspreadfurtherthroughouttheworld viathetelevisionseriesAlfred HitchcockPresentsin themid-fifties.ButAmericanandEuropeancritics made himpayforhiscommercial successbyreviewinghisworkwithcondescension,andbybelittling eachnew film. In1962,while inNew York to present Julesand Jim, Inoticedthateveryjournalistaskedmethesame question:"Whydothecriticsof CahiersduCinema takeHitchcocksoseriously?He'srichandsuccessful,but hismovies have no substance." Inthe course of aninterview during whichI praisedRear Window to the skies,an American critic surprised me by commenting,"YouloveRearWindowbecause,asa strangertoNewYork,youknownothingabout GreenwichVillage."Tothisabsurdstatement,Ireplied, "Rear Window isnot about Greenwich Village, itisa filmabout cinema,andI doknow cinema." Upon myreturntoParis,I wasstilldisturbedbythis exchange.Frommypastcareerasacritic,incommonwithallof theyoungwritersfromCahiersdu Cinema,Istillfeltthe imperativeneedtoconvince. It wasobvious that Hitchcock, whose genius for publicity wasequalled only bythat of Salvador Dali,had inthelongrunbeenvictimizedinAmericanintellectualcirclesbecauseofhisfacetiousresponseto interviewersandhisdeliberatepracticeof deriding theirquestions.Inexamininghisfilms,itwasobviousthathehadgivenmorethought tothepotenII tialof hisartthananyof hiscolleagues.It occurred tomethatifhewould,forthefirsttime,agreeto respondseriouslytoasystematicquestionnaire,the resultingdocumentmightmodifytheAmerican critics' approach toHitchcock. That is what this book isallabout.Patiently prepared withthehelpof HelenScott,whoseeditorialexperience wasa decisive factor,I dare saythat our book achievedthisresult.Atthetimeitwaspublished, however,a young American filmprofessor predicted: "Thisbook willdomoreharmtoyourreputationin Americathanyourworstfilm."Asithappens, CharlesThomasSamuelswasmistaken.Hecommittedsuicideayearortwolater,undoubtedlyfor otherreasons.Infact,from1968on,American criticsbegantotakeHitchcock'sworkmoreseriously.Today,amovielikePsychoisregardedasa classic,andyoungfilmbuffshaveadoptedH i t ~ h cockwholeheartedly,withoutbegrudginghimhis success,wealth,and fame. WhilewewererecordingthesetalkswithHitchcock inAugust1962,thefinaleditingofTheBirds,his forty-eighthpicture,wasunder way.Ittookussome four years to transcribe the tapes and gather the photographs.Whenever I met Hitchcock during thisperiod,Iwouldquestionhiminordertoupdatethe bookIcalled"thehitchbook."Thefirstedition, therefore,publishedattheendof1967,concludes withhisfiftiethfilm,TomCurtain.Inthefinalpart of the present edition,there isan additional chapter commenting on Topaz,Frenzy(hislastrelativesuccess),FamilyPlot,and,finally,TheShortNight,a filmhewaspreparingandconstantlyrevising.In truth,hiswholeentouragewasawarethatHitchcock'shealthand moralehad deterioratedtosuch a point thata fifty-fourthpicturewasout of the question. Inthecaseof amanlikeHitchcock,wholivedonly throughandforhiswork,toceaseactivitywastantamounttoadeathsentence.Heknewitaswellas everybodyelse,andthisiswhythe lastfouryearsof hislifewere sosad. OnMay2,1980,afewdaysafterhisdeath,amass washeldina smallchurch on SantaMonica BoulevardinBeverlyHills.One yearbefore,a farewellto JeanRenoirhadtakenplaceinthesamechurch. JeanRenoir'scoffinhadbeenplacedinfrontof the altar.Family,friends,neighbors,filmbuffs,and peopleoffthestreetattendedtheceremony.For Hitchcock,itwasdifferent.There wasnocoffin-it hadbeenremovedtoanunknowndestination.The guests,whohadbeeninvitedbytelegram,were checkedinatthedoorbyUniversal'ssecuritymen. The police kept the crowdsoutside at bay. It wastheburialof atimidmanwhohadbecome intimidating and who,forthe firsttime,wasavoiding publicity,sinceitwouldn'thelphiswork-aman who,sincehisadolescence,hadtrainedhimselfto. be in control of the situatjon. The manwasdead,but not thefilm-maker.Forhis pictures,madewithlovingcare,anexclusivepassion,anddeepemotionsconcealedbyexceptional technicalmastery,are destined to circulate throughouttheworld,competingwithnewerproductions, defyingthetestof time,andconfirmingJeanCocteau:simageofMarcelProust:"Hisworkkepton living,likethewatchesonthewristsofdeadsoldiers." FRAN