In Love with Fear the Critics
80 THE CRITICS A CRITIC AT LARGE make it ring true: movies were all he had. 6 The most suggestive commemoration I have found is the Hitchcock show at the IN LOVE WITH FEAR Museum of Modern Art in Oxford, En- gland. This includes a mockup of James How the master of suspense made fetishists of us all. Stewart’s bedroom in “Vertigo”; a rear- BY ANTHONY LANE projected, frame-by-frame screening of “Psycho”; and a beguiling series of looped montages by Christoph Girardet and HUNDRED years ago, on Au- us except our need to give him money Matthias Müller, entitled “The Phoenix gust 13, 1899, a boy was born. in return for the promise of temporary Tapes.” These are scraps of Hitchcock A He was the son of a greengrocer distress? The outward refinements of a crammed with objects and actions that we from Leytonstone, a small town in Essex, Hitchcock picture may be a delight, but have come to recognize as his imagina- which has since been swallowed by the they are frayed by emotional wear and tive property. One loop rifles through the sprawl of East London. Ten years earlier, tear; when Grace Kelly, in “Rear Win- following images: name cards, tiepins, another London boy was born; both dow,” is hunting for clues inside Ray- monograms, letters, keys, locks, drains, would migrate, both would end up as mond Burr’s apartment, and Burr appears the color red, spots, basins, washing, hair- knights of the realm they had vacated, in the corridor outside, James Stewart, cutting, hair-burning, fires, matchbooks, and both would grow wealthy in the plea- watching from across the courtyard, looks race cards, addresses, newspapers, music surable purveying of their obsessions.
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