Alfred Hitchcock

“Hitchcock” redirects here. For other uses, see Hitchcock 1 Early life (disambiguation).

Born on 13 August 1899 in Leytonstone (then part of Sir Alfred Joseph Hitchcock, KBE (13 August 1899 Essex, now part of London), England, Hitchcock was the – 29 April 1980)[2] was an English film director second son and the youngest of three children of William and producer.[3] Often nicknamed “The Master of Hitchcock (1862–1914), a greengrocer and poulterer, Suspense”,[4] he pioneered many techniques in the and Emma Jane Hitchcock (née Whelan; 1863–1942). suspense and psychological thriller genres. After a suc- Named Alfred after his father’s brother, Hitchcock was cessful career in British cinema in both silent films and brought up as a Roman Catholic and was sent to Salesian early talkies, renowned as England’s best director, Hitch- College[14] and the Jesuit Classic school St Ignatius’ Col- cock moved to Hollywood in 1939[5] and became a US lege in Stamford Hill, London.[15][16] His parents were citizen in 1955. both of half-English and half-Irish ancestry.[17][18] He of- Over a career spanning more than half a century, Hitch- ten described a lonely and sheltered childhood worsened cock fashioned for himself a distinctive and recognis- by his obesity.[19] able directorial style.[6] He pioneered the use of a cam- Around age five, according to Hitchcock, he was sent by era made to move in a way that mimics a person’s gaze, his father to the local police station with a note asking forcing viewers to engage in a form of voyeurism.[7] He the officer to lock him away for five minutes as punish- framed shots to maximise anxiety, fear, or empathy, and ment for behaving badly.[20][21] This incident not only im- used innovative film editing.[7] His stories often feature planted a lifetime fear of policemen in Hitchcock, but fugitives on the run from the law alongside “icy blonde” such harsh treatment and wrongful accusations would be female characters.[8][9] Many of Hitchcock’s films have found frequently throughout his films.[22] twist endings and thrilling plots featuring depictions of vi- olence, murder, and crime. Many of the mysteries, how- When Hitchcock was 15, his father died. In the same ever, are used as decoys or "MacGuffins" that serve the year, he left St. Ignatius to study at the London film’s themes and the psychological examinations of the County Council School of Engineering and Navigation in characters. Hitchcock’s films also borrow many themes Poplar, London.[23] After leaving, he became a draftsman from psychoanalysis and feature strong sexual overtones. and advertising designer with a cable company called Through his cameo appearances in his own films, inter- Henley’s.[24] During the First World War, Hitchcock was views, film trailers, and the television program Alfred rejected for military service because of his obesity. Nev- Hitchcock Presents, he became a cultural icon. ertheless, the young man signed up to a cadet regiment of the Royal Engineers in 1917. His military stint was Hitchcock directed more than fifty feature films in a ca- limited: he received theoretical briefings, weekend drills reer spanning six decades. Often regarded as the great- and exercises. Hitchcock would march around London’s est British filmmaker, he came first in a 2007 poll of Hyde Park and was required to wear puttees, the proper film critics in Britain’s Daily Telegraph, which said: “Un- wrapping of which he could never master.[25] questionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape While working at Henley’s, Hitchcock began to dabble modern cinema, which would be utterly different without creatively. After the company’s in-house publication, The him. His flair was for narrative, cruelly withholding cru- Henley Telegraph, was founded in 1919, he often submit- cial information (from his characters and from viewers) ted short articles and eventually became one of its most and engaging the emotions of the audience like no one prolific contributors. His first piece was “Gas” (1919), else.”[10][11] The magazine MovieMaker has described published in the first issue, in which a young woman imag- him as the most influential filmmaker of all time,[12] and ines that she is being assaulted one night in Paris – only he is widely regarded as one of cinema’s most significant for the twist to reveal that it was all just a hallucination in artists.[13] the 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, perform onstage.[26] “Sordid” (1920) surrounds an attempt to buy a 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 a brothel, only to stumble into the house of his best friend’s girl. “What’s Who?" (1920), while humorous, was also a forerunner to the famous Abbott and Costello "Who’s on First?" routine. “The History of Pea Eating” (1920) was a satirical disquisition on the various attempts people have made over the centuries to eat peas successfully. His final piece, “Fedora” (1921), was his shortest and most enigmatic contribution. It also gave a strikingly accurate description of his future wife, Alma Reville (whom he had not yet met).[27]

Hitchcock (right) during the making of Number 13 in London 2 Inter-war British career

o' God in the United States). This film was eventually Hitchcock became intrigued by photography and started [38] working in film production in London, working as a title lost. card designer for the London branch of what would be- In 1926, Hitchcock’s luck changed with his first thriller, come Paramount Pictures.[28] In 1920, he received a The Lodger: A Story of the London Fog, a suspense full-time position at Islington Studios with its American film about the hunt for a Jack the Ripper type of owner, Famous Players-Lasky, and their British succes- serial killer in London.[39] Released in January 1927, sor, Gainsborough Pictures,[29] designing the titles for it was a major commercial and critical success in the silent movies.[30] His rise from title designer to film di- United Kingdom.[40] As with many of his earlier works, rector took five years. During this period, he became this film was influenced by Expressionist techniques an unusual combination of screenwriter, art director and Hitchcock had witnessed first-hand in Germany.[41] assistant director on a series of five films for producer Some commentators regard this piece as the first truly Michael Balcon and director Graham Cutts: Woman to “Hitchcockian”[42][43] film, incorporating such themes as Woman (1923), The White Shadow (1924),[31] The Pas- the “wrong man”.[44] sionate Adventure (1924), The Blackguard (1925), and [32] Following the success of The Lodger, Hitchcock hired The Prude’s Fall (1925). a publicist to help strengthen his growing reputation. Hitchcock’s penultimate collaboration with Cutts, The On 2 December 1926, Hitchcock married his assis- Blackguard (German title Die Prinzessin und der Geiger, tant director, Alma Reville, at the Brompton Oratory in 1925), was produced at the Babelsberg Studios in Pots- South Kensington, London.[39] Their only child, daughter dam near Berlin, where Hitchcock observed part of Patricia, was born on 7 July 1928. Alma was to become the making of F. W. Murnau's film The Last Laugh Hitchcock’s closest collaborator, but her contributions to (1924).[33] He was very impressed with Murnau’s work his films (some of which were credited on screen) Hitch- and later used many techniques for the set design in cock would discuss only in private, as she was keen to his own productions. In a book-length interview with avoid public attention.[45] François Truffaut, Hitchcock also said he was influenced [32] In 1929, Hitchcock began work on his tenth film by Fritz Lang's film Destiny (1921). He was likewise Blackmail. While the film was still in production, the stu- influenced by other foreign filmmakers whose work he dio, British International Pictures (BIP), decided to con- absorbed as one of the earliest members of the “seminal” [34] vert it to sound. As an early 'talkie', the film is often cited London Film Society, formed in 1925. by film historians as a landmark film,[46] and is often con- Hitchcock’s first few films faced a string of bad luck. His sidered to be the first British sound feature film.[47][48] first directing project came in 1922 with the aptly titled With the climax of the film taking place on the dome of Number 13.[35] The production was cancelled because of the British Museum, Blackmail began the Hitchcock tra- financial problems;[35] filmed in London, the few scenes dition of using famous landmarks as a backdrop for sus- that had been finished at that point have been lost. In pense sequences. It also features one of his longest cameo 1925, Michael Balcon[36] gave Hitchcock another oppor- appearances, which shows him being bothered by a small tunity for a directing credit with The Pleasure Garden, boy as he reads a book on the London Underground.[49] a co-production of Gainsborough and the German firm In the PBS series The Men Who Made The Movies,[50] Emelka, which he made at the Geiselgasteig studio near Hitchcock explained how he used early sound record- Munich in the summer of 1925; the film was a commer- ing as a special element of the film, stressing the word cial flop.[37] Next, Hitchcock directed a drama called The “knife” in a conversation with the woman suspected of Mountain Eagle (possibly released under the title Fear murder.[51] During this period, Hitchcock directed seg- 3

ments for a BIP musical film revue Elstree Calling (1930) director. Hitchcock said he was misquoted: “I said 'Ac- and directed a short film featuring two Film Weekly schol- tors should be treated like cattle'.”[61] arship winners, An Elastic Affair (1930). Another BIP Lauded in Britain where he was dubbed “Alfred the musical revue, Harmony Heaven (1929), reportedly had Great” by Picturegoer magazine, by the end of the 1930s minor input from Hitchcock, but his name does not ap- Hitchcock’s reputation was beginning to soar overseas, pear in the credits. with a New York Times feature writer stating; “Three In 1933, Hitchcock was once again working for Michael unique and valuable institutions the British have that we in Balcon[36] at Gaumont-British Picture Corporation.[52] America have not. Magna Carta, the Tower Bridge and His first film for the company, The Man Who Knew Too Alfred Hitchcock, the greatest director of screen melo- Much (1934), was a success and his second, The 39 Steps dramas in the world.”[62] Variety magazine referred to (1935), is often considered one of the best films from his him as, “probably the best native director in England.”[63] early period with the British Film Institute ranking it the David O. Selznick signed Hitchcock to a seven-year fourth best British film of the 20th century.[53] Already contract beginning in March 1939, and the Hitchcocks acclaimed in Britain, the success of the film made Hitch- moved to Hollywood.[64] cock a star in the US, and established the quintessential English 'Hitchcock blonde' Madeleine Carroll as the tem- plate for his succession of ice cold and elegant leading 3 Hollywood ladies.[54] This film was also one of the first to introduce the "MacGuffin". In The 39 Steps, the MacGuffin is a stolen set of design plans. Hitchcock told French direc- In Hollywood, the suspense and the gallows humour that tor François Truffaut: had become Hitchcock’s trademark in film continued to appear in his productions. The working arrangements with Selznick were less than ideal. Selznick suffered from There are two men sitting in a train going constant money problems, and Hitchcock was often dis- to Scotland and one man says to the other, “Ex- pleased with Selznick’s creative control over his films. In cuse me, sir, but what is that strange parcel you a later interview, Hitchcock summarised the working re- have on the luggage rack above you?", “Oh”, lationship thus: says the other, “that’s a Macguffin.”, “Well”, says the first man, “what’s a Macguffin?", The other answers, “It’s an apparatus for trapping lions in the Scottish Highlands.”, “But”, says the first man, “there are no lions in the Scottish Highlands.”, “Well”, says the other, “then that’s no Macguffin.”[55]

Hitchcock’s next major success was his 1938 film The Lady Vanishes, a fast-paced film about the search for a kindly old Englishwoman Miss Froy (Dame May Whitty), who disappears while on board a train in the fictional country of Bandrika.[56] The Guardian called the film “one of the greatest train movies from the genre’s golden era”, and a contender for the “title of best comedy thriller [57] ever made”. In 1939, Hitchcock received the New Alfred Hitchcock with Chandran Rutnam (centre) and Sri York Film Critics Circle Award for Best Director, the Lankan Film Maker Anton Wickremasinghe at the Academy [58][59] only time he received an award for his directing. Awards in Los Angeles. The film frequently ranks among the best British films of all time.[60] By 1938, Hitchcock had become known for his alleged [Selznick] was the Big Producer. ... Pro- observation, “Actors are cattle”. He once said that he first ducer was king, The most flattering thing Mr. made this remark as early as the late 1920s, in connec- Selznick ever said about me—and it shows you tion to stage actors who were snobbish about motion pic- the amount of control—he said I was the “only [65] tures. However, Michael Redgrave said that Hitchcock director” he'd “trust with a film”. had made the statement during the filming of The Lady Vanishes. The phrase would haunt Hitchcock for years to Selznick lent Hitchcock to the larger studios more often come. During the filming of his 1941 production of Mr. than producing Hitchcock’s films himself. Selznick, as & Mrs. Smith, Carole Lombard brought some heifers onto well as fellow independent producer Samuel Goldwyn, the set with name tags of Lombard, Robert Montgomery, made only a few films each year, so he did not always and Gene Raymond, the stars of the film, to surprise the have projects for Hitchcock to direct. Goldwyn had also 4 3 HOLLYWOOD

negotiated with Hitchcock on a possible contract, only to 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 faced in 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 on a novel by English author Daphne du Maurier. The film starred Laurence Olivier and Joan Fontaine. The story concerns a naïve (and unnamed) young woman who mar- ries a widowed aristocrat. She goes to live in his huge English country house, and struggles with the lingering reputation of the elegant and worldly first wife, whose Cary Grant and Ingrid Bergman in Notorious (1946) name was Rebecca, and who died under mysterious cir- cumstances. The film won the Academy Award for Best [67] Picture of 1940. The statuette was given to Selznick, Santa Cruz Mountains. The ranch became the primary [67] as the film’s producer. Hitchcock was nominated for residence of the Hitchcocks for the rest of their lives, al- the Best Director award, his first of five such nominations, though they kept their Bel Air home. Suspicion (1941) but did not win. marked Hitchcock’s first film as a producer as well as There were additional problems between Selznick and director. The film was set in England, and Hitchcock Hitchcock, with Selznick known to impose restrictive used the north coast of Santa Cruz, California, for the rules on Hitchcock. At the same time, Selznick com- English coastline sequence.[28] This film was to be ac- plained about Hitchcock’s “goddamn jigsaw cutting”, tor Cary Grant's first time working with Hitchcock, and which meant that the producer did not have nearly the it was one of the few times that Grant would be cast leeway to create his own film as he liked, but had to in a sinister role.[28] Joan Fontaine[72] won Best Actress follow Hitchcock’s vision of the finished product.[68] Re- Oscar[28] for her “outstanding performance in Suspicion". becca was the fourth longest of Hitchcock’s films, at 130 Grant plays an irresponsible English con man whose ac- minutes, exceeded only by The Paradine Case (132 min- tions raise suspicion and anxiety in his shy young English utes), North by Northwest (136 minutes), and Topaz (142 wife (Fontaine).[73] In a notable scene, Hitchcock uses a minutes).[69] lightbulb to illuminate what might be a fatal glass of milk that Grant is bringing to his wife. In the book the movie is Hitchcock’s second American film, the European-set based on (Before the Fact by Francis Iles), the Grant char- thriller Foreign Correspondent (1940), based on Vincent acter is a killer, but Hitchcock and the studio felt Grant’s Sheean's Personal History and produced by Walter image would be tarnished by that ending. Though a homi- Wanger, was nominated for Best Picture that year. Hitch- cide would have suited him better, as he stated to François cock and other British subjects felt uneasy living and Truffaut, Hitchcock settled for an ambiguous finale.[74] working in Hollywood while their country was at war; his concern resulted in a film that overtly supported Saboteur (1942) was the first of two films that Hitchcock the British war effort.[70] The movie was filmed in the made for Universal, a studio where he would continue first year of the Second World War and was inspired his career during his later years. Hitchcock was forced by the rapidly changing events in Europe, as fictionally to use Universal contract players Robert Cummings and covered by an American newspaper reporter portrayed Priscilla Lane, both known for their work in comedies and by Joel McCrea. The film mixed footage of European light dramas.[75] Breaking with Hollywood conventions of scenes with scenes filmed on a Hollywood back lot. The the time, Hitchcock did extensive location filming, espe- film avoided direct references to Nazism, Germany, and cially in New York City, and depicted a confrontation be- Germans to comply with Hollywood’s Production Code tween a suspected saboteur (Cummings) and a real sabo- censorship.[71] teur (Norman Lloyd) atop the Statue of Liberty. That year he also directed Have You Heard?, a photographic dramatisation of the dangers of rumours during wartime, 3.1 1940s films for Life magazine.[76] Shadow of a Doubt (1943), Hitchcock’s personal Hitchcock’s films during the 1940s were diverse, ranging favourite of all his films and the second of the early from the romantic comedy Mr. & Mrs. Smith (1941) to Universal films,[77] was about young Charlotte “Charlie” the courtroom drama The Paradine Case (1947) to the Newton (Teresa Wright), who suspects her beloved uncle dark and disturbing film noir Shadow of a Doubt (1943). Charlie Oakley (Joseph Cotten) of being a serial mur- In September 1940, the Hitchcocks bought the 200-acre derer. Hitchcock again filmed extensively on location, (0.81 km2) Cornwall Ranch near Scotts Valley in the this time in the Northern California city of Santa Rosa, 3.1 1940s films 5

during the summer of 1942. The director showcased his pears in the film is ten minutes shorter than was origi- personal fascination with crime and criminals when he nally envisioned, having been edited by Selznick to make had two of his characters discuss various ways of killing it “play” more effectively.[88] Two point-of-view shots people, to the obvious annoyance of Charlotte. were achieved by building a large wooden hand (which Working at 20th Century Fox, Hitchcock adapted a script would appear to belong to the character whose point of John Steinbeck's that recorded the experiences of the of view the camera took) and out-sized props for it to survivors of a German U-boat attack in the film Lifeboat hold: a bucket-sized glass of milk and a large wooden (1944). The action sequences were shot in a small boat gun. For added novelty and impact, the climactic gunshot was hand-coloured red on (some copies of) the black- in the studio water tank. The locale also posed problems for Hitchcock’s traditional cameo appearance. That was and-white film. Some of the original musical score by Miklós Rózsa (which makes use of the theremin) was solved by having Hitchcock’s image appear in a news- paper that William Bendix is reading in the boat, show- later adapted by the composer into a concert piano con- certo. ing the director in a before-and-after advertisement for “Reduco-Obesity Slayer”.[78] While at Fox, Hitchcock seriously considered directing the film version of A. J. Cronin's novel about a Catholic priest in China,[79] The Keys of the Kingdom, but the plans for this fell through. John M. Stahl ended up directing the 1944 film, which was produced by Joseph L. Mankiewicz and starred Gregory Peck, among other luminaries.[79] Returning to England for an extended visit in late 1943 and early 1944, Hitchcock made two short films for the British Ministry of Information, Bon Voyage and Aventure Malgache.[80] The two British propaganda films made for the Free French, were the only films Hitchcock made in the French language, and “feature typical Hitch- cockian touches”.[81] In the 1990s, the two films were shown by Turner Classic Movies and released on home Grant and Bergman in Notorious (1946) video. From late June to late July 1945, Hitchcock served as Notorious (1946) followed Spellbound. According to “treatment advisor” on a Holocaust documentary which Hitchcock, in his book-length interview with François used footage provided by the Allied Forces.[82] Produced Truffaut, Selznick sold the director, the two stars (Grant by Sidney Bernstein of the British Ministry of Informa- and Bergman) and the screenplay (by Ben Hecht) to RKO tion, the film was assembled in London, and Bernstein Radio Pictures as a “package” for $500,000 due to cost brought his future 1948–49 production partner Hitchcock overruns on Selznick’s Duel in the Sun (1946). Notori- on board as a consultant for the film editing process for ous starred Hitchcock regulars Ingrid Bergman and Cary the British Ministry of Information and the American Of- Grant, and features a plot about Nazis, uranium, and fice of War Information.[82][83] Commissioned to provide South America. It was a huge box office success and has irrefutable evidence of the Nazis’ crimes, the film, which remained one of Hitchcock’s most acclaimed films. His in 1952 had been transferred from the British War Office prescient use of uranium as a plot device led to Hitch- film vaults to London’s Imperial War Museum, recorded cock’s being briefly under FBI surveillance. McGilli- the liberation of Nazi concentration camps, and remained gan writes that Hitchcock consulted Dr. Robert Millikan unreleased until 1985 when an edited version was broad- of Caltech about the development of an atomic bomb. cast as an episode of the PBS network series Frontline Selznick complained that the notion was “science fiction”, under the title the Imperial War Museum had given it: only to be confronted by the news stories of the detona- Memory of the Camps.[84][85] In 2014 the full-length ver- tion of two atomic bombs on Hiroshima and Nagasaki in sion of the film, German Concentration Camps Factual Japan in August 1945.[89] Survey, was completed and restored by film scholars at the Imperial War Museum.[82] After completing his final film for Selznick, The Para- dine Case (1947), (a courtroom drama that critics found Hitchcock worked for Selznick again when he directed lost momentum because it apparently ran too long and Spellbound (1945), which explored psychoanalysis[86] and exhausted its resource of ideas), Hitchcock formed an featured a dream sequence designed by Salvador Dalí. independent production company with his friend Sidney Gregory Peck plays amnesiac Dr. Anthony Edwardes Bernstein called Transatlantic Pictures, through which he under the treatment of analyst Dr. Peterson (Ingrid made two films, his first in colour and making use of long Bergman), who falls in love with him while trying to un- takes. With Rope (1948), Hitchcock experimented with lock his repressed past.[87] The dream sequence as it ap- marshaling suspense in a confined environment, as he had 6 3 HOLLYWOOD

done earlier with Lifeboat (1943). Appearing to have should each perform the other’s murder. Farley Granger's been shot in a single take, Rope was actually shot in 10 role was as the innocent victim of the scheme, while takes ranging from four and a half to 10 minutes each; a Robert Walker, previously known for “boy-next-door” 10-minute length of film being the maximum a camera’s roles, played the villain.[93] film magazine could hold at the time. Some transitions MCA head Lew Wasserman, whose client list included between reels were hidden by having a dark object fill the James Stewart, Janet Leigh and other actors who would entire screen for a moment. Hitchcock used those points appear in Hitchcock’s films, had a significant impact in to hide the cut, and began the next take with the camera packaging and marketing Hitchcock’s films beginning in in the same place. Featuring James Stewart in the lead- the 1950s. ing role, Rope was the first of four films Stewart would make with Hitchcock. It was inspired by the Leopold After I Confess (1953) with Montgomery Clift, three pop- and Loeb case of the 1920s. Somehow Hitchcock’s cam- ular films starring Grace Kelly followed. Dial M for Mur- eraman managed to move the bulky, heavy Technicolor der (1954) was adapted from the stage play by Frederick camera quickly around the set as it followed the continu- Knott. Ray Milland plays the scheming villain, an ex- ous action of the long takes. tennis pro who tries to murder his unfaithful wife Grace Kelly for her money. When she kills the hired assassin in Under Capricorn (1949), set in nineteenth-century Aus- self-defense, Milland manipulates the evidence to make tralia, also used the short-lived technique of long takes, it look like a premeditated murder by his wife. Her lover, but to a more limited extent. He again used Technicolor Mark Halliday (Robert Cummings), and Police Inspector in this production, then returned to black-and-white films Hubbard (John Williams), work urgently to save her from for several years. Transatlantic Pictures became inactive execution.[94] With Dial M, Hitchcock experimented with after these two unsuccessful films. But Hitchcock contin- 3D cinematography. The public was growing weary of ued to produce his own films for the rest of his life. the gimmick by the time of the film’s release, however, and it was shown in 3D only in a few first-run engage- 3.2 1950s: Peak years ments. The 3D version has been revived occasionally, including a brief reissue in some major US cities in the 1980s. The film marked a return to color productions for Hitchcock. Hitchcock then moved to Paramount Pictures and filmed Rear Window (1954), starring James Stewart and Kelly again, 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 he begins observing his neighbours across the courtyard, and becomes convinced one of them (Raymond Burr) has murdered his wife. Stewart tries to sway both his glam- orous model-girlfriend (Kelly), whom screenwriter John Michael Hayes based on his own wife, and his police- man buddy (Wendell Corey) to his theory, and eventu- James Stewart and Grace Kelly in Rear Window (1954) ally succeeds.[95] As with Lifeboat and Rope, the principal characters were almost entirely confined to a small space, Hitchcock filmed Stage Fright (1950) in the UK. For in this case Stewart’s tiny studio apartment overlooking the first time, he matched one of Warner Bros.'[90] most a massive courtyard. Hitchcock used close-ups of Stew- popular stars, Jane Wyman, with the sultry German ac- art’s face to show his character’s reactions to all he sees, tress Marlene Dietrich. Hitchcock used several promi- “from the comic voyeurism directed at his neighbours to nent British actors, including Michael Wilding, Richard his helpless terror watching Kelly and Burr in the villain’s Todd, and Alastair Sim. This was Hitchcock’s first pro- apartment”.[95] duction for Warner Bros., which had distributed Rope and In 1955, Hitchcock became a United States citizen.[96] Under Capricorn, because Transatlantic Pictures was ex- His third Kelly film, To Catch a Thief (1955), set in the periencing financial difficulties.[91] French Riviera, paired her with Cary Grant. He plays re- With the film Strangers on a Train (1951), based on tired thief John Robie, who becomes the prime suspect the novel by Patricia Highsmith, Hitchcock combined for a spate of robberies in the Riviera. A thrill-seeking many elements from his preceding films. He approached American heiress played by Kelly surmises his true iden- Dashiell Hammett to write the dialogue but Raymond tity and tries to seduce him. “Despite the obvious age Chandler took over, then left over disagreements with disparity between Grant and Kelly and a lightweight plot, the director.[92] Two men casually meet, one of whom the witty script (loaded with double entendres) and the speculates on a foolproof murder technique. He suggests good-natured acting proved a commercial success.”[97] It that two people, each wishing to do away with someone, 3.3 1960: Psycho 7

was Hitchcock’s last film with Kelly. She married Prince Rainier of Monaco in 1956, and the residents of her new land were against her making any more films. Hitchcock successfully remade his own 1934 film The Man Who Knew Too Much in 1956. This time, the film starred Stewart and Doris Day, who sang the theme song, "Que Sera, Sera (Whatever Will Be, Will Be)", which won the Oscar for Best Original Song and became a big hit for her. They play a couple whose son is kidnapped to prevent them from interfering with an assassination. As in the 1934 film, the climax takes place at the Royal Cary Grant in North by Northwest (1959) Albert Hall, London.[98]

By this time, Hitchcock had filmed in many areas of the United States.[102] He followed Vertigo with three more successful films. Two are also recognised as among his best movies: North by Northwest (1959) and Psycho (1960). The third film was The Birds (1963). In North 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, apparently one of them being Eve Kendall (Eva Marie Saint), in fact James Stewart and Kim Novak in Vertigo (1958) working undercover.

The Wrong Man (1957), Hitchcock’s final film for Warner Bros., was a low-key black-and-white production based on a real-life case of mistaken identity reported in Life Magazine in 1953. This was the only film of Hitchcock 3.3 1960: Psycho to star Henry Fonda. Fonda plays a Stork Club musician mistaken for a liquor store thief who is arrested and tried Psycho is almost certainly Hitchcock’s best-known for robbery while his wife (newcomer Vera Miles) emo- film.[104] Produced on a constrained budget of $800,000, tionally collapses under the strain. Hitchcock told Truf- it was shot in black-and-white on a spare set using faut that his lifelong fear of the police attracted him to the [99] crew members from his television show Alfred Hitchcock subject and was embedded in many scenes. Presents.[105] The unprecedented violence of the shower Vertigo (1958) again starred Stewart, this time with Kim scene, the early death of the heroine, the innocent lives Novak and Barbara Bel Geddes. Stewart plays “Scottie”, extinguished by a disturbed murderer became the defin- a former police investigator suffering from acrophobia, ing hallmarks of a new horror movie genre and have been who develops an obsession with a woman he is shadow- copied by many authors of subsequent films.[106] ing (Novak). Scottie’s obsession leads to tragedy, and this The public loved the film, with lines stretching outside time Hitchcock does not opt for a happy ending. The film of theatres as people had to wait for the next show- contains a camera technique developed by Irmin Roberts ing. It broke box-office records in China and the rest of that has been copied many times by filmmakers, wherein Asia, France, Britain, South America, the United States the image appears to “stretch”. This is achieved by mov- and Canada, and was a moderate success in Australia ing the camera in the opposite direction of the camera’s for a brief period.[107] It was the most profitable black- zoom. It has become known by many nicknames, includ- and-white sound film ever made, and the most prof- ing Dolly zoom, “Zolly,” “Hitchcock Zoom,” and “Ver- itable of Hitchcock’s career; Hitchcock personally earned tigo Effect.” well in excess of $15 million. He subsequently swapped Although the film is widely considered a classic today, his rights to Psycho and his TV anthology for 150,000 Vertigo met with negative reviews and poor box office re- shares of MCA, making him the third largest shareholder ceipts upon its release, and was the last collaboration be- in MCA Inc. and his own boss at Universal, in the- tween Stewart and Hitchcock.[100] Although ranked sec- ory at least, but that did not stop them from interfer- ond (behind Citizen Kane) for almost 50 years the film was ing with him.[107][108] 'Hitchcock’s second most profitable voted top by critics in the 2012 Sight & Sound decade poll. was Family Plot, earning $7.5 million, and third place was It was premiered in the San Sebastián International Film a tie between Torn Curtain (1966) and Frenzy (1972), Festival,[101] where Hitchcock won a Silver Seashell. each earning $6.5 million. 8 3 HOLLYWOOD

3.4 After 1960 murders in the early 1950s, and the Jack the Ripper mur- ders in 1888. The basic story recycles his early film The The Birds, inspired by a short story by English author Lodger. Richard Blaney (Jon Finch), a volatile barkeeper Daphne du Maurier and by a news story about a mys- with a history of explosive anger, becomes the prime sus- terious infestation of birds in Capitola, California, was pect for the “Necktie Murders,” which are actually com- [118] Hitchcock’s 49th film, and was filmed in Bodega Bay, mitted by his friend Bob Rusk (Barry Foster). This California.[109] Newcomer Tippi Hedren made her screen time, Hitchcock makes the victim and villain kindreds, debut in the film, co-starring Rod Taylor and Suzanne rather than opposites, as in Strangers on a Train. Only [118] Pleshette. The scenes of the birds attacking included hun- one of them, however, has crossed the line to murder. dreds of shots mixing live and animated sequences. The For the first time, Hitchcock allowed nudity and profane cause of the birds’ attack is left unanswered, “perhaps language, which had previously been taboo, in one of his highlighting the mystery of forces unknown”.[110] Hitch- films. He also shows rare sympathy for the chief inspector [119] cock cast Hedren again opposite Sean Connery in his and his comic domestic life. next film, Marnie, a romantic drama and psychological Biographers have noted that Hitchcock had always thriller. Decades later, Hedren called Hitchcock a misog- pushed the limits of film censorship, often managing to ynist and said that Hitchcock effectively ended her career fool Joseph Breen, the longtime head of Hollywood’s by keeping her to an exclusive contract for two years when Production Code. Many times Hitchcock slipped in sub- she rebuffed his sexual advances.[111][112] However, He- tle hints of improprieties forbidden by censorship until dren appeared in two TV shows during the two years af- the mid-1960s. Yet Patrick McGilligan wrote that Breen ter Marnie, and in over eighty films and TV shows after and others often realised that Hitchcock was inserting that period.[113] In 2012, Hedren described Hitchcock as such things and were actually amused as well as alarmed a “sad character"; a man of “unusual genius”, yet “evil, by Hitchcock’s “inescapable inferences”.[120] Beginning and deviant, almost to the point of dangerous, because of with Torn Curtain, Hitchcock was finally able to blatantly the effect that he could have on people that were totally include plot elements previously forbidden in American unsuspecting.”[114] In response, a Daily Telegraph article films and this continued for the remainder of his film ca- quoted several actresses who had worked with Hitchcock, reer. including Eva Marie Saint, Doris Day and Kim Novak, none of whom shared Hedren’s opinion about him.[115] Novak, who worked on Hitchcock’s Vertigo, told the Tele- graph “I never saw him make a pass at anybody or act strange 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 dispensed with any conventional score, instead using a new tech- nique of electronically produced sound effects. Bernard Herrmann composed the former and was a consultant on the latter. Failing health reduced Hitchcock’s output during the last two decades of his career. Biographer Stephen Rebello claimed Universal “forced” two movies on him, Torn Curtain and Topaz.[108][117] Both were spy thrillers set with 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 his score. Topaz (1969), based on a Leon Uris novel, is partly set in Cuba. Both received mixed reviews from critics. In 1972, Hitchcock returned to England to film his penul- Hitchcock at work on location in San Francisco for Family Plot timate film Frenzy. After two only moderately successful espionage films, the plot marks a return to the murder Family Plot (1976) was Hitchcock’s last film. It relates the thriller genre of earlier in his career, and is based upon escapades of “Madam” Blanche Tyler, played by Barbara the novel Goodbye Piccadilly, Farewell Leicester Square. Harris, a fraudulent spiritualist, and her taxi driver lover The plot centres on a serial killer in contemporary Lon- Bruce Dern, making a living from her phony powers. don. In a very early scene there is dialogue that men- William Devane, Karen Black and Cathleen Nesbitt co- tions two actual London serial murder cases: the Christie 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 dark Hitchcock returned several times to cinematic devices than what Hitchcock wanted for the film. Screenwriter such as suspense, the audience as voyeur, and his well- Ernest Lehman originally wrote the film with a dark tone known "MacGuffin,” a plot device that is essential to the but was pushed to a lighter, more comical tone by Hitch- characters on the screen, but is irrelevant to the audience. cock. The film went through various titles including De- Thus, the MacGuffin was always hazily described (in ceit and Missing Heir. It was changed to Family Plot at “North By Northwest,” Leo G. Carroll describes James the suggestion of the studio. Mason as an “importer-exporter.”) A central theme of Hitchcock’s films was murder and the 3.5 Last project and death psychology behind it.[126][127]

Near the end of his life, Hitchcock had worked on the script for a projected spy thriller, The Short Night, col- 6 Psychology of characters laborating with screenwriters James Costigan, Ernest Lehman and David Freeman. Despite some preliminary Hitchcock’s films sometimes feature characters struggling work, the story was never filmed. This was caused pri- in their relationships with their mothers. In North by marily by Hitchcock’s own failing health and his con- Northwest (1959), Roger Thornhill (Cary Grant's charac- cerns over the health of his wife, Alma, who had suf- ter) is an innocent man ridiculed by his mother for insist- fered a stroke. The screenplay was eventually published ing that shadowy, murderous men are after him. In The in Freeman’s 1999 book The Last Days of Alfred Hitch- [121][122] Birds (1963), the Rod Taylor character, an innocent man, cock. finds his world under attack by vicious birds, and strug- Hitchcock died at age 80 in his Bel Air home of renal fail- gles to free himself of a clinging mother (Jessica Tandy). ure at 9:17 am on 29 April 1980.[123] While biographer The killer in Frenzy (1972) has a loathing of women but Spoto wrote that Hitchcock “rejected suggestions that he idolises his mother. The villain Bruno in Strangers on a allow a priest ... to come for a visit, or celebrate a quiet, Train hates his father, but has an incredibly close relation- informal ritual at the house for his comfort,” Jesuit priest ship with his mother (played by Marion Lorne). Sebas- Father Mark Henninger wrote that he and fellow priest tian (Claude Rains) in Notorious has a clearly conflictual Tom Sullivan celebrated Mass at the filmmaker’s home; relationship with his mother, who is (correctly) suspicious Father Sullivan heard Hitchcock’s confession.[124] He was of his new bride Alicia Huberman (Ingrid Bergman). survived by his wife and their daughter. Hitchcock’s fu- Norman Bates has troubles with his mother in Psycho. neral Mass was held at Good Shepherd Catholic Church Hitchcock heroines tend to be blondes.[8][9] The famous in Beverly Hills on 31 April 1980, after which his body victims in The Lodger are all blondes. In The 39 Steps, was cremated and his remains were scattered over the Pa- [125] Hitchcock’s glamorous blonde star, Madeleine Carroll, cific Ocean on 10 May 1980. is put in handcuffs. In Marnie (1964), the title charac- ter (played by Tippi Hedren) is a thief. In To Catch a Thief (1955), Francie (Grace Kelly) offers to help a man 4 Signature appearances in his she believes is a burglar. In Rear Window, Lisa (Grace films Kelly again) risks her life by breaking into Lars Thor- wald’s apartment. The best-known example is in Psycho where Janet Leigh's unfortunate character steals $40,000 Main article: List of Alfred Hitchcock cameo appear- and is murdered by a reclusive psychopath. Hitchcock’s ances last blonde heroine was—years after Dany Robin and her “daughter” Claude Jade in Topaz—Barbara Harris as a Hitchcock appears briefly in most of his own films. For phony psychic turned amateur sleuth in his final film, example, he is seen struggling to get a double bass onto 1976’s Family Plot. In the same film, the diamond smug- a train (Strangers on a Train), walking dogs out of a pet gler played by Karen Black could also fit that role, as she shop (The Birds), fixing a neighbour’s clock (Rear Win- wears a long blonde wig in various scenes and becomes dow), as a shadow (Family Plot), sitting at a table in a pho- increasingly uncomfortable about her line of work. tograph (Dial M for Murder) and missing a bus (North by Some critics and Hitchcock scholars, including Donald Northwest). Spoto and Roger Ebert, agree that Vertigo represents the director’s most personal and revealing film, dealing with the obsessions of a man who crafts a woman into the 5 Themes, plot devices and motifs woman he desires. Vertigo explores more frankly and at greater length his interest in the relation between sex and [128] Main article: Themes and plot devices in the films of death than any other film in his filmography. Alfred Hitchcock 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 out the entire script down to the smallest detail, and when we'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 enters the area of compromise. Really, the novelist has the best casting since he doesn't have to cope with the actors and all the rest.” In an interview with Roger Ebert in 1969, Hitchcock elaborated further:

Once the screenplay is finished, I'd just as Alfred Hitchcock by Jack Mitchell soon not make the film at all ... I have a strongly visual mind. I visualise a picture right down to the final cuts. I write all this out in the great- However, this view of Hitchcock as a director who re- est detail in the script, and then I don't look lied more on pre-production than on the actual produc- at the script while I'm shooting. I know it off tion itself has been challenged by the book Hitchcock at by heart, just as an orchestra conductor needs Work, written by Bill Krohn, the American correspon- not look at the score ... When you finish the dent of Cahiers du cinéma. Krohn, after investigating script, the film is perfect. But in shooting it several script revisions, notes to other production per- you lose perhaps 40 percent of your original sonnel written by or to Hitchcock alongside inspection conception.[130] of storyboards, and other production material, has ob- served that Hitchcock’s work often deviated from how In Writing with Hitchcock, a book-length study of Hitch- the screenplay was written or how the film was originally cock’s working method with his writers, author Steven envisioned. He noted that the myth of storyboards in re- DeRosa noted that “Although he rarely did any actual lation to Hitchcock, often regurgitated by generations of 'writing', especially on his Hollywood productions, Hitch- commentators on his movies, was to a great degree per- cock supervised and guided his writers through every petuated by Hitchcock himself or the publicity arm of the draft, insisting on a strict attention to detail and a pref- studios. A great example would be the celebrated crop- erence for telling the story through visual rather than ver- spraying sequence of North by Northwest which was not bal means. While this exasperated some writers, others storyboarded at all. After the scene was filmed, the pub- admitted the director inspired them to do their very best licity department asked Hitchcock to make storyboards work. Hitchcock often emphasised that he took no screen to promote the film and Hitchcock in turn hired an artist credit for the writing of his films. However, over time the to match the scenes in detail. work of many of his writers has been attributed solely Even when storyboards were made, scenes that were shot to Hitchcock’s creative genius, a misconception he rarely differed from them significantly. Krohn’s extensive anal- went out of his way to correct. Notwithstanding his tech- ysis of the production of Hitchcock classics like Notori- nical brilliance as a director, Hitchcock relied on his writ- ous reveals that Hitchcock was flexible enough to change [131] ers a great deal.” a film’s conception during its production. Another exam- ple Krohn notes is the American remake of The Man Who 7.2 Storyboards and production Knew Too Much, whose shooting schedule commenced without a finished script and moreover went over sched- Hitchcock’s films were strongly believed to have been ex- ule, something that, as Krohn notes, was not an uncom- tensively storyboarded to the finest detail by the major- mon occurrence on many of Hitchcock’s films, including ity of commentators over the years. He was reported to Strangers on a Train and Topaz. While Hitchcock did do have never even bothered looking through the viewfinder, a great deal of preparation for all his movies, he was fully since he did not need to, though in publicity photos he was cognizant that the actual film-making process often devi- shown doing so. He also used this as an excuse to never ated from the best-laid plans and was flexible to adapt to have to change his films from his initial vision. If a studio the changes and needs of production as his films were not asked him to change a film, he would claim that it was al- free from the normal hassles faced and common routines ready shot in a single way, and that there were no alternate utilized during many other film productions. takes to consider. Krohn’s work also sheds light on Hitchcock’s practice of 11 generally shooting in chronological order, which he notes For Hitchcock, the actors, like the props, were part of the sent many films over budget and over schedule and, more film’s setting, as he said to Truffaut: importantly, differed from the standard operating proce- dure of Hollywood in the Studio System Era. Equally In my opinion, the chief requisite for an ac- important is Hitchcock’s tendency to shoot alternate takes tor is the ability to do nothing well, which is of scenes. This differed from coverage in that the films by no means as easy as it sounds. He should were not necessarily shot from varying angles so as to give be willing to be utilised and wholly integrated the editor options to shape the film how he/she chooses into the picture by the director and the cam- (often under the producer’s aegis). Rather they repre- era. He must allow the camera to determine sented Hitchcock’s tendency of giving himself options the proper emphasis and the most effective dra- in the editing room, where he would provide advice to matic highlights.[133] his editors after viewing a rough cut of the work. Ac- cording to Krohn, this and a great deal of other infor- Regarding Hitchcock’s sometimes less than pleasant re- mation revealed through his research of Hitchcock’s per- lationship with actors, there was a persistent rumour that sonal papers, script revisions and the like refute the notion he had said that actors were cattle. Hitchcock addressed of Hitchcock as a director who was always in control of this story in his interview with François Truffaut: his films, whose vision of his films did not change during production, which Krohn notes has remained the central long-standing myth of Alfred Hitchcock. I'm not quite sure in what context I might have made such a statement. It may have been His fastidiousness and attention to detail also found its made ... when we used actors who were si- way into each film poster for his films. Hitchcock pre- multaneously performing in stage plays. When ferred to work with the best talent of his day—film poster they had a matinee, and I suspected they were designers such as Bill Gold and Saul Bass—and kept them allowing themselves plenty of time for a very busy with countless rounds of revision until he felt that leisurely lunch. And this meant that we had the single image of the poster accurately represented his to shoot our scenes at breakneck speed so that entire film. the actors could get out on time. I couldn't help feeling that if they'd been really conscien- tious, they'd have swallowed their sandwich in 7.3 Approach to actors the cab, on the way to the theatre, and get there in time to put on their make-up and go on stage. I had no use for that kind of actor.[134] “The length of a film should be directly related to the en- durance of the human bladder.” Carole Lombard, tweaking Hitchcock and drumming up —Alfred Hitchcock a little publicity, brought some cows along with her when she reported to the set of Mr. and Mrs. Smith.[134] Similarly, much of Hitchcock’s supposed dislike of actors In the late 1950s, French New Wave critics, especially has been exaggerated. Hitchcock simply did not tolerate Éric Rohmer, Claude Chabrol and François Truffaut, the method approach, as he believed that actors should were among the first to see and promote Hitchcock’s films only concentrate on their performances and leave work as artistic works. Hitchcock was one of the first directors on script and character to the directors and screenwrit- to whom they applied their auteur theory, which stresses ers. In a Sight and Sound interview, he stated that, 'the the artistic authority of the director in the film-making method actor is OK in the theatre because he has a free process. space to move about. But when it comes to cutting the Hitchcock’s innovations and vision have influenced a face and what he sees and so forth, there must be some great number of filmmakers, producers, and actors. His discipline'.[132] He often used the same actors in many of influence helped start a trend for film directors to control his films. artistic aspects of their movies without answering to the During the making of Lifeboat, Walter Slezak, who movie’s producer. played the German villain, stated that Hitchcock knew the mechanics of acting better than anyone he knew. Sev- eral critics have observed that despite his reputation as a 8 Awards and honours man who disliked actors, several actors who worked with him gave fine, often brilliant performances and these per- formances contribute to the film’s success. As more fully Main article: List of awards and nominations received discussed above, in “Inter-War British Career,” actress by Alfred Hitchcock Dolly Haas, who was a personal friend of Hitchcock and who acted for him in the 1953 film I Confess, stated that Hitchcock was a multiple nominee and winner of a Hitchcock regarded actors as “animated props.” number of prestigious awards, receiving two Golden 12 9 TELEVISION, RADIO, AND BOOKS

Globes, eight Laurel Awards, and five lifetime achieve- The title-sequence of the show pictured a minimalist car- ment awards including the first BAFTA Academy Fel- icature of Hitchcock’s profile (he drew it himself; it is lowship Award, as well as being five times nominated for, composed of only nine strokes), which his real silhou- albeit never winning, an Academy Award as Best Direc- ette then filled. His introductions before the stories in tor. His film Rebecca (nominated for 11 Oscars) won the his program always included some sort of wry humour, Academy Award for Best Picture of 1940—particularly such as the description of a recent multi-person execution notable as another Hitchcock film, Foreign Correspon- hampered by having only one electric chair, while two are dent, was also nominated that same year.[135] now shown with a sign “Two chairs—no waiting!". He di- rected 18 episodes of the TV series himself, which aired from 1955 to 1965 in two versions. It became The Alfred Hitchcock Hour in 1962. The series used a curious little tune as its title-theme. Fu- neral March of a Marionette, by the French composer Charles Gounod (1818–1893),[140][141] the composer of the 1859 opera Faust, was suggested to him by composer Bernard Herrmann. Arthur Fiedler and the Boston Pops Orchestra included the piece on one of their extended play 45-rpm discs for RCA Victor during the 1950s. Alfred Hitchcock Presents was parodied by Friz Freleng's 1961 cartoon The Last Hungry Cat, which contains a plot similar to Blackmail. In the 1980s, a new version of Alfred Hitchcock Presents English Heritage Blue plaque in 153 Cromwell Road, London, was produced for television, making use of Hitchcock’s SW5 commemorating Hitchcock original introductions in a colourised form. Hitchcock appears as a character in the popular juvenile In addition to these, Hitchcock received a knighthood in detective book series, Alfred Hitchcock and the Three In- 1980 when he was appointed a Knight Commander of vestigators. The long-running detective series was created the Most Excellent Order of the British Empire (KBE) by by Robert Arthur, who wrote the first several books, al- Queen Elizabeth II in the 1980 New Year Honours.[136] though other authors took over after he left the series. Asked by a reporter why it had taken the Queen so The Three Investigators—Jupiter Jones, Bob Andrews long, Hitchcock quipped, “I suppose it was a matter of and Peter Crenshaw—were amateur detectives, slightly carelessness”.[137] An English Heritage blue plaque, un- younger than the Hardy Boys. In the introduction to each veiled in 1999, marks where Sir Alfred Hitchcock lived in book, “Alfred Hitchcock” introduces the mystery, and he London at 153 Cromwell Road, Kensington and Chelsea, sometimes refers a case to the boys to solve. At the end of SW5.[138] each book, the boys report to Hitchcock, and sometimes In June 2013, nine restored versions of Hitchcock’s early give him a memento of their case. silent films, including his 1925 directorial debut, The At the height of Hitchcock’s success, he was also asked Pleasure Garden, were shown at the Brooklyn Academy to introduce a set of books with his name attached. of Music's Harvey Theater. Known as “The Hitchcock The series was a collection of short stories by popular 9,” the traveling tribute was made possible by a $3 mil- short-story writers, primarily focused on suspense and lion program organized by the British Film Institute.[34] thrillers. These titles included Alfred Hitchcock’s Anthol- ogy, Alfred Hitchcock Presents: Stories to be Read with the Door Locked, Alfred Hitchcock’s Monster Museum, Alfred 9 Television, radio, and books Hitchcock’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, Along with Walt Disney, Hitchcock was among the first Alfred Hitchcock’s A Hangman’s Dozen, Alfred Hitch- prominent motion picture producers to fully envisage just cock’s Stories Not For the Nervous and Alfred Hitchcock’s how popular the medium of television would become. Haunted Houseful. Hitchcock himself was not actually From 1955 to 1965, Hitchcock was the host and producer involved in the reading, reviewing, editing or selection of a television series titled Alfred Hitchcock Presents.[139] of the short stories; in fact, even his introductions were While his films had made Hitchcock’s name strongly as- ghost-written. The entire extent of his involvement with sociated with suspense, the TV series made Hitchcock a the project was to lend his name and collect a cheque. celebrity himself. His irony-tinged voice and signature droll delivery, gallows humour, iconic image and man- Some notable writers whose works were used in the col- nerisms became instantly recognisable and were often the lection include Shirley Jackson (Strangers in Town, The subject of parody. Lottery), T. H. White (The Once and Future King), Robert 13

Bloch, H. G. Wells (The War of the Worlds), Robert Louis • Leo G. Carroll: Rebecca (1940), Suspicion (1941), Stevenson, Sir Arthur Conan Doyle, Mark Twain and the Spellbound (1945), The Paradine Case (1947), creator of The Three Investigators, Robert Arthur. In Strangers on a Train (1951), and North By North- a similar manner, Hitchcock’s name was licensed for a west (1959) digest-sized monthly, Alfred Hitchcock’s Mystery Maga- zine, which has been published since 1956. 5 films Hitchcock also wrote a mystery story for Look magazine in 1943, “The Murder of Monty Woolley". This was a • Hannah Jones: Downhill (1927), Champagne sequence of captioned photographs inviting the reader (1928), Blackmail (1929), Murder! (1930), and to inspect the pictures for clues to the murderer’s iden- Rich and Strange (1932) tity; Hitchcock cast the performers as themselves, such as Woolley, Doris Merrick and make-up man Guy Pearce, whom Hitchcock identified, in the last photo, as the mur- 4 films derer. The article was reprinted in Games Magazine in November/December 1980. • Donald Calthrop: Blackmail (1929), Murder! In September 2010, BBC Radio 7 broadcast a series (1930), Juno and the Paycock (1930), and Number of five fifteen-minute programs entitled The Late Alfred Seventeen (1932) Hitchcock Presents with Michael Roberts impersonating • Cary Grant: Suspicion (1941), Notorious (1946), Alfred Hitchcock for introductory/concluding comments To Catch a Thief (1955), and North By Northwest and reading the stories in his own voice.[142] These five (1959) stories were originally intended for the television series, but were rejected because of their rather gruesome na- • Edmund Gwenn: The Skin Game (1931), Waltzes ture: from Vienna (1934), Foreign Correspondent (1940), and The Trouble with Harry (1955) • “The Waxwork” by A. M. Burrage (broadcast 13 September 2010) • Phyllis Konstam: Champagne (1928), Blackmail (1929), Murder! (1930), and The Skin Game (1931) • “Sredni Vashtar” by Saki (broadcast 14 September 2010) • John Longden: Blackmail (1929), Juno and the Pay- cock (1930), The Skin Game (1931), and Young and • “The Perfectionist” by Margaret St. Clair (broadcast Innocent (1937) 15 September 2010) • • “Being a Murderer Myself” by Arthur Williams James Stewart: Rope (1948), Rear Window (1954), (broadcast 16 September 2010) The Man Who Knew Too Much (1956), and Vertigo (1958) • “The Dancing Partner” by Jerome K. Jerome (broadcast 17 September 2010) 3 films

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

Main article: Alfred Hitchcock filmography • Charles Halton: Foreign Correspondent (1940), Mr. & Mrs. Smith (1941), Saboteur (1942)

• Patricia Hitchcock: Stage Fright (1950), Strangers 11 Frequently cast actors and ac- on a Train (1951), Psycho (1960) tresses • Ian Hunter: The Ring (1927), Downhill (1927), Easy Virtue (1928) 7 films • Grace Kelly: Dial M for Murder (1954), Rear Win- dow (1954), and To Catch a Thief (1955) • Clare Greet: Number 13 (1922), The Ring (1927), The Manxman (1929), Murder! (1930), The Man • Basil Radford: Young and Innocent (1937), The Who Knew Too Much (1934), Sabotage (1936), Ja- Lady Vanishes (1938), Jamaica Inn (1939) maica Inn (1939) • John Williams: The Paradine Case (1947), Dial M 6 films for Murder, (1954), To Catch a Thief (1955) 14 16 NOTES

12 Frequent collaborators 16 Notes

[1] Hamilton, Fiona. “PM hails Christian influence on na- 13 Portrayals in film and television tional life”. The Times (London). Retrieved 25 June 2013.

[2] Mogg, Ken. “Alfred Hitchcock”. Senses of Cinema. Sens- • Anthony Hopkins, in the 2012 film Hitchcock. esofcinema.com. Retrieved 18 July 2010.

• Toby Jones, in the 2012 HBO telefilm The Girl. [3] “Obituary”. Variety (Variety). 7 May 1980. [4] Moerbeek, Kees (2006). Alfred Hitchcock: The Master of • Roger Ashton-Griffiths, in the 2014 film Grace of Suspense. Simon & Schuster. ISBN 978-1-4169-0467-0. Monaco. [5] Life, 19 June 1939, p. 66: Alfred Hitchcock: England’s Best Director starts work in Hollywood. Retrieved 4 Octo- Keith Staskiewicz wrote in Entertainment Weekly about ber 2012 the 2012 films, "... Hitchcock was depicted in his twin biopics as either a charming but troubled genius or a mon- [6] Lehman, David (April–May 2007). “Alfred Hitchcock’s America”. American Heritage. Retrieved 21 July 2010. strous sexual obsessive ...”[143] [7] Bays, Jeff (December 2007). “Film Techniques of Alfred Hitchcock”. Borgus.com. Borgus Productions. Retrieved 14 Essays 13 July 2010. [8] Whitington, Paul (18 July 2009). “NOTORIOUS! (Hitch- cock and his icy blondes)". The Irish Independent. Re- A total of 46 of Hitchcock’s essays and interviews have trieved 13 July 2010. been republished,[144] including: [9] Dowd, Maureen (1 December 2012). “Spellbound by Blondes, Hot and Icy”. New York Times. Retrieved 13 • The enjoyment of fear (1949) November 2013.

• Why I Am Afraid of the Dark (1960) [10] Avedon, Richard (14 April 2007). “The top 21 British di- rectors of all time”. The Daily Telegraph (UK). Retrieved • On Music in Films (1934) 8 July 2009. Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any • director to shape modern cinema, which would be utterly Director’s Problems (1938) different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and • My Most Exciting Picture (1948) from the audience) and engaging the emotions of the au- dience like no one else. • Hitchcock at Work (1976) [11] “British Directors”. RSS Film studies. Retrieved 11 June 2008. In his 1938 essay Crime Does Not Pay, Hitchcock ex- pounds the theory, citing William Powell and Lionel Bar- [12] Wood, Jennifer (6 July 2002). “The 25 Most Influential rymore as examples, that actors playing heavies prosper Directors of All Time”. MovieMaker. Moviemaker.com. Archived from the original on 8 June 2011. Retrieved 26 and flourish only after they switch from being villains to April 2011. being heroes. [13] “The Directors’ Top Ten Directors”. British Film Insti- tute. Archived from the original on 14 May 2011. Re- trieved 10 May 2011. 15 See also [14] “Alfred Hitchcock profile at”. Filmreference.com. Re- trieved 28 May 2013. • Alfred Hitchcock filmography [15] “Death and the Master”. Vanity Fair. April 1999. • Alfred Hitchcock Presents Archived from the original on 28 November 2010. Re- trieved 30 December 2010.

• Hitchcockian [16] “Welcome to St. Ignatius College”. Archived from the original on 15 March 2008. Retrieved 5 March 2008. • List of Hitchcock cameo appearances [17] Patrick McGilligan, p. 7

• List of film collaborations [18] Spoto, Donald (1999). The Dark Side of Genius: The Life of Alfred Hitchcock. Da Capo Press. p. 15. ISBN 978-0- • List of unproduced Hitchcock projects 306-80932-3. 15

[19] Patrick McGilligan, pp. 18–19 [43] Gleiberman, Owen (7 January 2006). “Ask the Critic – The Hitch Is Back-What, exactly, makes a film Hitchcock- [20] “The Dick Cavett Show”. 8 June 1972. ian.”. Entertainment Weekly (EW.COM). Archived from the original on 7 June 2011. Retrieved 26 April 2011. [21] “Hollywood in the Hills”. Sentinel Staff Report. 24 July 2005. Retrieved 5 March 2008. [44] Patrick McGilligan, p. 85

[22] Patrick McGilligan, pp. 7–8 [45] Chandler, Charlotte (2006). It’s only a movie: Alfred Hitchcock: a personal biography. Hal Leonard Corpora- [23] Patrick McGillang, p. 25. The school is now part of tion. Tower Hamlets College. [46] Rob White, Edward Buscombe. British Film Institute film [24] Patrick McGilligan, pp. 24–25 classics, Volume 1 p. 94. Taylor & Francis, 2003

[25] Hitchcock, Alfred. A life in Darkness. pp. 25–26. [47] Richard Allen, S. Ishii-Gonzalès. Hitchcock: past and fu- ture. p.xv. Routledge, 2004 [26] McGilligan, Patrick (2004). Alfred Hitchcock: A Life in Darkness and Light. books.google.com (HarperCollins). [48] Music hall mimesis in British film, 1895–1960: on the p. 34. halls on the screen p.79. Associated University Presse, 2009 [27] Patrick McGilligan, pp. 30–45 [49] Walker, Michael (2005). Hitchcock’s motifs. p.88. Am- [28] “Local Inspiration for Movie Classics: Hitchcock had sterdam University Press Link to Santa Cruz”. Santa Cruz Public Libraries, Ca. Archived from the original on 5 September 2007. Re- [50] “American Masters-Alfred Hitchcock”. Public Broad- trieved 4 March 2008. casting System. Archived from the original on 19 March 2008. Retrieved 5 March 2008. [29] “Gainsborough Pictures (1924–51)". British Film Insti- tute ScreenOnline. Retrieved 6 March 2008. [51] Patrick McGilligan, pp. 120–123

[30] Patrick McGilligan, pp. 46–51 [52] “Gaumont-British Picture Corporation”. British Film In- stitute. Archived from the original on 20 February 2008. [31] The White Shadow (YouTube) Retrieved 6 March 2008.

[32] Truffaut 1984 [53] “The British Film Institute 100”. Archived from the orig- inal on 14 May 2011. Retrieved 26 April 2011. [33] Sidney Gottlieb (ed), Alfred Hitchcock: Interviews By Al- fred Hitchcock. Illustrated Edition. (Univ. Press of Mis- [54] “From Hollywood starlet to wartime angel”. Daily Mail. sissippi, 2003). pp. 157–158. Retrieved 16 February 2014

[34] Kehr, Dave (23 June 2013). “Hitchcock, Finding His [55] Patrick McGilligan, p. 158 Voice in Silents”. The New York Times. Retrieved 29 June 2013. [56] “Lions of British Cinema-Sir Alfred Joseph Hitchcock, (13 August 1899 – 29 April 1980)". AvantGarde- [35] Donald Spoto. The Art of Alfred Hitchcock. New York: Now.com. Archived from the original on 9 October 2007. Anchor Books, 1976–1992. p. 3 ISBN 978-0-385- Retrieved 6 March 2008. 41813-3 [57] “My favourite Hitchcock: The Lady Vanishes”. The [36] “Balcon, Michael (1896–1977) Executive Producer”. Guardian. Retrieved 16 January 2015 British Film Institute ScreenOnline. Archived from the original on 14 February 2008. Retrieved 6 March 2008. [58] “The Lady Vanishes”. Turner Classic Movies. Retrieved 22 January 2013. [37] Patrick McGilligan, pp. 68–71 [59] “Awards for The Lady Vanishes”. Internet Movie [38] Donald Spoto. The Art of Alfred Hitchcock. New York: Database. Retrieved 22 January 2013. Anchor Books, 1976–1992. p. 5 ISBN 978-0-385- [60] “The 49 best British films of all time”. The Telegraph. 41813-3 Retrieved 16 January 2015 [39] Robert A. Harris, Michael S. Lasky. “The films of Alfred [61] Patrick McGilligan, pp. 210–211, 277; American Movie Hitchcock”. p.6. Citadel Press, 1976 Classics [40] See Robert E. Kapsis, Hitchcock: The Making of a Repu- [62] Leff, 1999. p. 16 tation. Illustrated Edition. (University of Chicago Press, 1992). p. 19 [63] Leff, 1999. p. 21.

[41] Alan Jones (2005) The rough guide to horror movies p. 20. [64] Leff, 1999. p. 35. Rough Guides, 2005 [65] Sidney Gottlieb, Alfred Hitchcock: Interviews By Alfred [42] “Hitchcockian Stuff”. Alfredsplace.com. Retrieved 6 Hitchcock. Illustrated Edition. (Univ. Press of Missis- March 2008. sippi, 2003). p. 206. 16 16 NOTES

[66] Leff, 1999. p. 30. [92] Leitch, p. 320

[67] “Awards for Rebecca (1940)". Internet Movie Database. [93] Leitch, p.322 Retrieved 7 March 2008. [94] Leitch, pp. 78–80 [68] Patrick McGilligan, pp. 251–252 [95] Leitch, p. 269 [69] Patrick McGilligan, p. 253 [96] Patrick Mcgilligan, p. 512 [70] Duncan, Paul (2003). Alfred Hitchcock: architect of anx- iety, 1899–1980. p.90. Taschen, 1 November 2003 [97] Leitch, p. 366

[71] Patrick McGilligan, p. 244 [98] Royal S. Brown (1994). “Overtones and Undertones: Reading Film Music”. p. 75. University of California [72] “Joan Fontaine”. Hollywood.com. Archived from the Press, 1994 original on 25 March 2008. Retrieved 5 March 2008. [99] Leitch, p. 377 [73] Tom Scott Cadden (1984). “What a bunch of characters!: an entertaining guide to who played what in the movies”. [100] Leitch, pp. 376–377 p. 131. Prentice-Hall, [101] “Donostia Zinemaldia Festival de San Sebastian Interna- [74] Thomas Leitch, The Encyclopedia of Alfred Hitchcock, tional Film Festival”. Archived from the original on 6 Facts on File, New York, pp. 324–325, ISBN 978-0- March 2008. Retrieved 6 March 2008. 8160-4386-6 [102] “Hitchcock’s America Lifelong Learning Institute-Fall [75] Patrick Humphries (1994). “The Films of Alfred Hitch- 2001: Hitchcock Filming Sites and Points of Interest in cock”. p. 71.Random House Value Pub, the US”. Sonoma State University. Retrieved 5 March 2008. [76] ""Have You Heard?": The Story of Wartime Rumors”. Life. 13 July 1942. pp. 68–73. Retrieved 17 November [103] Leitch, p. 234 2011. [104] Leitch, p. 260 [77] In an interview on the Dick Cavett show aired on 8 June 1972, when asked if he had a personal favourite, Hitch- [105] Leitch, p. 261 cock responded that it was Shadow of a Doubt. [106] Leitch, p. 262 [78] Leitch, p. 181 [107] Leigh, Janet with Christopher Nickens. Psycho: Behind [79] Patrick McGilligan, p. 343 the Scenes of the Classic Thriller. Harmony Press, 1995.

[80] “Alfred Hitchcock’s Bon Voyage & Aventure malgache”. [108] Stephen Rebello, Alfred Hitchcock and the Making of Psy- Milestone Films. Retrieved 11 February 2014. cho, Soft Skull Press, Berkeley, 1990.

[81] Patrick McGilligan, pp. 346–348 [109] Leitch, p. 32

[82] Jeffries, Stuart (9 January 2015). “The Holocaust film that [110] Leitch, p. 33 was too shocking to show”. The Guardian. Retrieved 1 February 2015. [111] Goldman, Andrew (5 October 2012). “The Revenge of Alfred Hitchcock’s Muse”. New York Times. [83] “Memory of the Camps: Frequently Asked Questions”. PBS. [112] Millard, Rosie (27 July 2012). “Hitchcock’s girl”. Finan- cial Times (Pearson PLC). Retrieved 19 January 2013. [84] Patrick McGilligan, pp. 372–374 [113] Moral, Tony Lee. Hitchcock and the Making of Marnie, [85] “Memory of the Camps”. FRONTLINE. Public Broad- Scarecrow Pres, 2013 (Revised Edition), p 265. ISBN casting System (PBS). Retrieved 20 July 2014. 978-0-8108-9107-4

[86] Boyd, David (2000). “The Parted Eye: Spellbound and [114] Crum, Amanda (2 October 2012). “Tippi Hedren: Alfred Psychoanalysis”. Hitchcock Was “Evil” And “Dangerous"". Retrieved 24 [87] Leitch, p. 310 October 2012.

[88] Leff, Leonard J. (1987). Hitchcock and Selznick. Uni- [115] Millward, David (26 December 2012). “BBC under fire versity of California Press. pp. 164–165. ISBN 0-520- over Hitchcock drama”. The Daily Telegraph. Retrieved 21781-0. 4 January 2013.

[89] Patrick McGilligan, pp. 366–381 [116] Rushfield, Richard (8 October 2012). “Kim Novak tells all”. The Daily Telegraph (Telegraph Media Group). Re- [90] “Warner Bros. Studios”. Retrieved 6 March 2008. trieved 23 January 2014.

[91] Patrick McGilligan, pp. 429, 774–775 [117] Leigh, Janet with Christopher Nickens. 17

[118] Leitch, p. 114 [139] “Alfred Hitchcock Presents”. TV.COM. Archived from the original on 25 January 2008. Retrieved 5 March 2008. [119] Leitch, p. 115 [140] “Alfred Hitchcock (suspense anthology)". Media Man- [120] Patrick McGilligan, p. 249 agement Group. Archived from the original on 21 Febru- ary 2008. Retrieved 4 March 2008. [121] Patrick McGilligan, pp. 731–734 [141] “Filmography by year for Charles Gounod”. Internet [122] Freeman, David (1999). The Last Days of Alfred Hitch- Movie Database. Retrieved 4 March 2008. cock. Overlook. ISBN 978-0-87951-728-1. [142] “The Late Alfred Hitchcock Presents”. BBC Radio 4 Ex- [123] Patrick Mcgilligan (2010). “Alfred Hitchcock: A Life in tra. Darkness and Light”. p. 745. Harper Collins

[124] Henninger, Mark (6 December 2012). “Alfred Hitch- [143] Staskiewicz, Keith. “This Was The Year That Everyone cock’s Surprise Ending”. The Wall Street Journal. Was Obsessed with Lincoln & Hitchcock.” Entertainment Archived from the original on 7 February 2013. Weekly, 28 December 2012, p. 19.

[125] Flint, Peter B. (30 April 1980). “Alfred Hitchcock Dies; [144] Hitchcock on Hitchcock: Selected Writings and Interviews, A Master of Suspense; Alfred Hitchcock, Master of Sus- University of California Press, 46 republished essays and pense and Celebrated Film Director, Dies at 80 Increas- interviews, 4 November 1997 ingly Pessimistic Sought Exotic Settings Technical Chal- lenges Became a Draftsman Lured to Hollywood”. The New York Times. Retrieved 7 March 2008. 17 References [126] McDevitt, Jim; Juan, Eric San (1 April 2009). A Year of Hitchcock: 52 Weeks with the Master of Suspense. Scare- • Leff, Leonard J: The Rich and Strange Collaboration crow Press. p. 369. ISBN 978-0-8108-6389-7. of Alfred Hitchcock and David O. Selznick in Holly- wood. University of California Press, 1999 [127] Raubicheck, Walter; Srebnick, Walter (1991). Hitchcock’s Rereleased Films: From Rope to Ver- • Leitch, Thomas: The Encyclopedia of Alfred Hitch- tigo. Wayne State University Press. p. 122. ISBN cock (ISBN 978-0-8160-4387-3). Checkmark 0-8143-2326-X. Books, 2002. A single-volume encyclopaedia of all [128] Kehr, Dave (2011). When Movies Mattered: Reviews things about Alfred Hitchcock. from a Transformative Decade. Chicago: University of Chicago Press. p. 259. ISBN 978-0-226-42940-3. • McGilligan, Patrick: Alfred Hitchcock: A Life in Darkness and Light. Regan Books, 2003. A com- [129] [Dick Cavett Show interview, 8 June 1972] prehensive biography of the director. [130] “Hitchcock: “Never mess about with a dead body – you may be one ..."". Rogerebert.suntimes.com. 14 Decem- ber 1969. Retrieved 26 July 2009. 18 Further reading

[131] Steven DeRosa, Writing with Hitchcock, New York: Faber • and Faber, 2001, p. xi. Auiler, Dan: Hitchcock’s notebooks: an authorised and illustrated look inside the creative mind of Alfred [132] “Alfred Hitchcock”. BFI (Because Films Inspire). Hitchcock. New York, Avon Books, 1999. Much Archived from the original on 10 February 2008. Re- useful background to the films. trieved 4 March 2008. • Barr, Charles: English Hitchcock. Cameron & Hol- [133] Truffaut 1984, p. 153 lis, 1999. On the early films of the director. [134] Truffaut 1984, p. 140 • Clues: A Journal of Detection'31.1 (2013). Theme [135] “The 13th Academy Awards (1941) Nominees and Win- issue on Hitchcock and adaptation. ners”. 2012 Academy of Motion Picture Arts and Sci- ences • Conrad, Peter: The Hitchcock Murders. Faber and Faber, 2000. A highly personal and idiosyncratic [136] Adair, Gene. “Alfred Hitchcock: Filming Our Fears”. p. discussion of Hitchcock’s oeuvre. 145. Oxford University Press, 2002 • DeRosa, Steven: Writing with Hitchcock. Faber [137] Haley, Michael. “The Alfred Hitchcock album”. p. 2. and Faber, 2001. An examination of the collab- Prentice-Hall, 1981 oration between Hitchcock and screenwriter John [138] “Sir Alfred Hitchcock 1899–1980 film director lived here Michael Hayes, his most frequent writing collabora- 1926–1939”. English Heritage. Retrieved 19 November tor in Hollywood. Their films include Rear Window 2012. and The Man Who Knew Too Much. 18 18 FURTHER READING

• Deutelbaum, Marshall; Poague, Leland (ed.): A • McDevitt, Jim; San Juan, Eric: A Year of Hitchcock: Hitchcock Reader. Iowa State University Press, 52 Weeks with the Master of Suspense. Scarecrow 1986. A wide-ranging collection of scholarly essays Press, 2009, (ISBN 978-0-8108-6388-0). A com- on Hitchcock. prehensive film-by-film examination of Hitchcock’s artistic development from 1927 through 1976. • Durgnat, Raymond: The strange case of Alfred Hitchcock Cambridge, Massachusetts: MIT Press, • Modleski, Tania: The Women Who Knew Too Much: 1974 OCLC 1233570 Hitchcock And Feminist Theory. Routledge, 2005 (2nd edition). A collection of critical essays on • Durgnat, Raymond; James, Nick; Gross, Larry: Hitchcock and his films; argues that Hitchcock’s Hitchcock British Film Institute, 1999 OCLC portrayal of women was ambivalent, rather than sim- 42209162 ply misogynist or sympathetic (as widely thought). • Durgnat, Raymond: A long hard look at Psycho • London: British Film Institute Pub., 2002 OCLC Mogg, Ken. The Alfred Hitchcock Story. Titan, 48883020 2008 (revised edition). Note: the original 1999 UK edition, from Titan, and the 2008 re-issue world- • Giblin, Gary: Alfred Hitchcock’s London. Midnight wide, also from Titan, have significantly more text Marquee Press, 2006, (Paperback: ISBN 978-1- than the 1999 abridged US edition from Taylor Pub- 887664-67-7) lishing. New material on all the films.

• Gottlieb, Sidney: Hitchcock on Hitchcock. Faber • Moral, Tony Lee. Hitchcock and the Making and Faber, 1995. Articles, lectures, etc. by Hitch- of Marnie, Scarecrow Press, 2013 (Revised Edi- cock himself. Basic reading on the director and his tion), 340 p. (ISBN 978-0-8108-9107-4). Well- films. researched book on the making of Hitchcock’s “Marnie”. • Gottlieb, Sidney: Alfred Hitchcock: Interviews. University Press of Mississippi, 2003. A collection • Paglia, Camille. The Birds. British Film Institute, of Hitchcock interviews. January 2008 ISBN 978-0-85170-651-1 • Grams, Martin, Jr. & Wikstrom, Patrik: The Alfred • Poague, Leland and Thomas Leitch: A Companion Hitchcock Presents Companion. OTR Pub, 2001, to Alfred Hitchcock. Wiley-Blackwell, 2011. Col- (Paperback: ISBN 978-0-9703310-1-4) lection of original essays by leading scholars exam- • Haeffner, Nicholas: Alfred Hitchcock. Longman, ining all facets of Hitchcock’s influence 2005. An undergraduate-level text. • Rebello, Stephen: Alfred Hitchcock and the Mak- • Hitchcock, Patricia; Bouzereau, Laurent: Alma ing of Psycho. St. Martin’s, 1990. Intimately re- Hitchcock: The Woman Behind the Man. Berkley, searched and detailed history of the making of Psy- 2003. cho,. • Henry Keazor (ed.): Hitchcock und die Künste, • Rohmer, Eric; Chabrol, Claude. Hitchcock, the first Schüren, Marburg 2013, ISBN 978-3-89472-828- forty-four films (ISBN 978-0-8044-2743-2). F. Un- 1. Examines the way Hitchcock was inspired by gar, 1979. First book-long study of Hitchock art and other arts such as literature, theatre, painting, archi- probably still the best one. tecture, music and cooking, used them in his films, • and how they then inspired other art forms such as Rothman, William. The Murderous Gaze. Har- dancing and media art. vard Press, 1980. Auteur study that looks at several Hitchcock films intimately. • Krohn, Bill: Hitchcock at Work. Phaidon, 2000. Translated from the award-winning French edition. • San Juan, Eric; McDevitt, Jim: Hitchcock’s Villains: The nitty-gritty of Hitchcock’s filmmaking from Murderers, Maniacs, and Mother Issues. Scarecrow scripting to post-production. Press, 2013, (ISBN 978-0-8108-8775-6). An in- depth analysis of the villains who were critically im- • Leff, Leonard J.: Hitchcock and Selznick. Weiden- portant to Hitchcock’s films and were often emblem- feld & Nicolson, 1987. An in-depth examination of atic of Hitchcock himself. the rich collaboration between Hitchcock and David O Selznick. • Spoto, Donald: The Art of Alfred Hitchcock. Anchor Books, 1992. The first detailed critical survey of • Loker, Altan: Film and Suspense. Trafford Publish- Hitchcock’s work by an American. ing, 2006. (ISBN 978-1-4120-5840-7). Discusses the psychological means by which Hitchcock cre- • Spoto, Donald: The Dark Side of Genius. Ballantine ated the sense of reality in his works and manipu- Books, 1983. A biography of Hitchcock, featuring a lated his audience. controversial exploration of Hitchcock’s psychology. 19

• Sullivan, Jack: Hitchcock’s Music. Yale University Press, 2006. The first book to fully explore the role music played in the Hitchcock’s films. ISBN 0-300- 11050-2 • Truffaut, François (1984) [1967]. Hitchcock by Truffaut: A Definitive Study of Alfred Hitchcock. Simon and Schuster/Touchstone Book. OCLC 10913283. A series of interviews of Hitchcock by the influential French director. • Vest, James: Hitchcock and France: The Forging of an Auteur. Praeger Publishers, 2003. A study of Hitchcock’s interest in French culture and the man- ner by which French critics, such as Truffaut, came to 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 Alfred Hitchcock 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, now supplemented and annotated in this second edition with additional insights and changes that time and personal experience have brought to the author (including his own coming-out as a gay man). • Youngkin, Stephen D. (2005). The Lost One: A Life of Peter Lorre. University Press of Kentucky. ISBN 978-0-8131-2360-8. Contains interviews with Al- fred Hitchcock and a discussion of the making of The Man Who Knew Too Much (1934) and Secret Agent (1936), which co-starred classic film actor Peter Lorre. • Žižek, Slavoj: Everything You Always Wanted to Know 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's Screenonline • Alfred Hitchcock papers at the Margaret 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 VIBBER, Mav, Espen, Koyaanis Qatsi, Taw, RoseParks, Gareth Owen, Andre Engels, Eclecticology, Danny, Deb, Ortolan88, Zoe, David spector, Camembert, B4hand, Fonzy, Mintguy, Modemac, KF, Mbecker, Ericd, Frecklefoot, Infrogmation, Nommonomanac, Michael Hardy, Kwertii, Norm, Dominus, Jahsonic, Gabbe, Stephen C. 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