alfred hitchcock - wikipedi

Alfred Hitchcock

From Wikipedia, the free encyclopedia

Alfred Hitchcock

Born

Alfred Joseph Hitchcock

13 August 1899

Leytonstone, London, England

Died

29 April 1980 (aged 80)

Bel Air, Los Angeles, California,

United States

Other

name(s)

Hitch

The Master of Suspense

Occupation Film director

Years active 1921–1976

Spouse(s)Alma Reville (1926–1980) (his

death)

Sir Alfred Joseph Hitchcock, KBE (13 August 1899 – 29 April 1980)[1] was an English filmmaker and producer.[2]

He pioneered many techniques in the suspense and psychological thriller genres. After a successful career in his nativeUnited Kingdom in both silent films and early talkies, Hitchcock moved to Hollywood. In 1956 he became an Americancitizen while remaining a British subject.

Over a career spanning more than half a century, Hitchcock fashioned for himself a distinctive and recognizable

directorial style.[3] Viewers are made to identify with the camera which moves in a way meant to mimic a person's gaze

and which forces viewers to engage in a form of voyeurism.[4] He framed shots to manipulate the feelings of theaudience and maximize anxiety, fear, or empathy, and used innovative film editing to demonstrate the point of view of

the characters.[4] His stories frequently feature fugitives on the run from the law alongside "icy blonde" female

characters.[5] Many of Hitchcock's films have twist endings and thrilling plots featuring depictions of violence, murderand crime, although many of the mysteries function as decoys or "MacGuffins" meant only to serve thematic elementsin the film and the extremely complex psychological examinations of the characters. Hitchcock's films also borrow

Alfred Hitchcock - Wikipedia, the free encyclopedia file:///C:/Documents and Settings/All Users/Documents/My Pictures/Samp...

1 of 24 9/4/2010 2:05 PM

Generated by Foxit PDF Creator © Foxit Softwarehttp://www.foxitsoftware.com For evaluation only.

many themes from psychoanalysis and feature strong sexual undertones. Through his cameo appearances in his ownfilms, interviews, trailers, and the television program Alfred Hitchcock Presents, he became an iconic cultural figure.

Hitchcock directed more than fifty feature films in a career spanning six decades. Often regarded as the greatest Britishfilmmaker, he came first in a 2007 poll of film critics in Britain's Daily Telegraph newspaper, which said:"Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shapemodern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial

information (from his characters and from us) and engaging the emotions of the audience like no one else."[6][7]

MovieMaker has hailed him as the most influential filmmaker of all time,[8] and he is widely regarded as one ofcinema's most significant artists.

Contents

1 Early life2 Pre-war British career3 Hollywood

3.1 1940s films3.2 1950s: Peak years3.3 Late 1950s, 1960s and 1970s3.4 Last film work and death

4 Themes, plot devices and motifs5 Technical innovations6 Signature appearances in his films7 Psychology of characters8 Style of working

8.1 Writing8.2 Storyboards and production8.3 Approach to actors

9 Awards and honours10 Fame11 Television and books12 Filmography13 Frequently cast actors and actresses14 Frequent collaborators15 See also16 References17 Further reading18 External links

18.1 Wiki18.2 Hitchcock sites18.3 Film and TV sites18.4 Profiles and interviews18.5 Essays18.6 Images

Early life


2 of 24 9/4/2010 2:05 PM


Hitchcock mosaic atLeytonstone Station.

Hitchcock was born on 13 August 1899 in Leytonstone, London, the second son andyoungest of three children of William Hitchcock (1862–1914), a greengrocer andpoulterer, and Emma Jane Hitchcock (née Whelan; 1863–1942). He was named after hisfather's brother, Alfred. His family was mostly Roman Catholic, with his mother and

paternal grandmother being of Irish extraction.[9][10] Hitchcock was sent to the Jesuit

Classic school St Ignatius' College in Stamford Hill, London.[11] He often described his

childhood as being very lonely and sheltered, a situation compounded by his obesity.[12]

Hitchcock said he was sent by his father on numerous occasions to the local policestation with a note asking the officer to lock him away for ten minutes as punishment for

behaving badly.[13] This idea of being harshly treated or wrongfully accused is

frequently reflected in Hitchcock's films.[14] Hitchcock's mother would often make himaddress her while standing at the foot of her bed, especially if he behaved badly, forcinghim to stand there for hours. These experiences would later be used for the portrayal of

the character of Norman Bates in his movie Psycho.[15]

Hitchcock's father died when he was 14. In the same year, Hitchcock left St. Ignatius to study at the London County

Council School of Engineering and Navigation in Poplar, London.[16] After graduating, he became a draftsman and

advertising designer with a cable company.[17]

During this period, Hitchcock became intrigued by photography and started working in film production in London,

working as a title-card designer for the London branch of what would become Paramount Pictures.[18] In 1920, hereceived a full-time position at Islington Studios with its American owner, Famous Players-Lasky and their British

successor, Gainsborough Pictures,[19] designing the titles for silent movies.[20] His rise from title designer to filmdirector took five years.

Pre-war British career

Hitchcock's last collaboration with Graham Cutts led him to Germany in 1924. The film Die Prinzessin und der Geiger(UK title The Blackguard, 1925), directed by Cutts and co-written by Hitchcock, was produced in the BabelsbergStudios in Potsdam near Berlin. Hitchcock also observed part of the making of F. W. Murnau's film Der letzte Mann

(1924).[21] He was very impressed with Murnau's work and later used many techniques for the set design in his ownproductions. In his book-length interview with François Truffaut, Hitchcock/Truffaut (Simon and Schuster, 1967),Hitchcock also said he was influenced by Fritz Lang's film Destiny (1921).

Hitchcock's first few films faced a string of bad luck. His first directing project came in 1922 with the aptly titled

Number 13.[22] However, the production was canceled due to financial problems[22] and the few scenes that were

finished at that point were apparently lost. In 1925, Michael Balcon[23] of Gainsborough Pictures gave Hitchcock

another opportunity for a directing credit with The Pleasure Garden made at UFA Studios[24] in Germany;

unfortunately, the film was a commercial flop.[25] Next, Hitchcock directed a drama called The Mountain Eagle

(possibly released under the title Fear o' God in the United States). This film was also eventually lost.[26] In 1926,Hitchcock's luck changed with his first thriller, The Lodger: A Story of the London Fog. The film, released in January

1927, was a major commercial and critical success in the United Kingdom.[27] As with many of his earlier works, this

film was influenced by Expressionist techniques Hitchcock had witnessed first-hand in Germany.[28] Some

commentators regard this piece as the first truly "Hitchcockian"[29][30] film, incorporating such themes as the "wrong

man".[31]

Following the success of The Lodger, Hitchcock hired a publicist to help enhance his growing reputation. On 2December 1926, Hitchcock married his assistant director, Alma Reville at the Brompton Oratory in South Kensington.


3 of 24 9/4/2010 2:05 PM


Their only child, daughter Patricia, was born on 7 July 1928. Alma was to become Hitchcock's closest collaborator.Alma's contribution to his films (some of which were credited on screen) had always been privately acknowledged by

Hitchcock, as his wife being a private person she was keen to avoid public attention.[32]

In 1929, Hitchcock began work on his tenth film Blackmail. While the film was still in production, the studio, BritishInternational Pictures (BIP), decided to convert it to sound. As an early 'talkie', the film is frequently cited by film

historians as a landmark film,[33] and is often considered to be the first British sound feature film.[34] With the climax ofthe film taking place on the dome of the British Museum, Blackmail began the Hitchcock tradition of using famous

landmarks as a backdrop for suspense sequences. In the PBS series The Men Who Made The Movies,[35] Hitchcockexplained how he used early sound recording as a special element of the film, emphasizing the word "knife" in a

conversation with the woman suspected of murder.[36] During this period, Hitchcock directed segments for a BIPmusical film revue Elstree Calling (1930) and directed a short film featuring two Film Weekly scholarship winners, AnElastic Affair (1930). Another BIP musical revue, Harmony Heaven (1929), reportedly had minor input fromHitchcock, but his name does not appear in the credits.

In 1933, Hitchcock was once again working for Michael Balcon[23] at Gaumont-British Picture Corporation.[37] Hisfirst film for the company, The Man Who Knew Too Much (1934), was a success and his second, The 39 Steps (1935), is

often considered one of the best films from his early period.[38] This film was also one of the first to introduce theconcept of the "MacGuffin", a plot device around which a whole story seems to revolve, but ultimately has nothing todo with the true meaning or ending of the story. In The 39 Steps, the Macguffin is a stolen set of design plans.(Hitchcock told French director François Truffaut:

There are two men sitting in a train going to Scotland and one man says to the other, 'Excuse me, sir, butwhat is that strange parcel you have on the luggage rack above you?', 'Oh', says the other, 'that's aMacguffin.', 'Well', says the first man, 'what's a Macguffin?', The other answers, 'It's an apparatus fortrapping 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.'[39]

Hitchcock's next major success was his 1938 film The Lady Vanishes, a fast-paced film about the search for a kindly oldEnglishwoman Miss Froy (Dame May Whitty), who disappears while on board a train in the fictional country of

Bandrika.[40]

By 1938, Hitchcock had become known for his observation, "Actors are cattle".[41] He once said that he first made thisremark as early as the late 1920s, in connection to stage actors who were snobbish about motion pictures. However,Michael Redgrave said that Hitchcock had made the statement during the filming of The Lady Vanishes. The phrasewould haunt Hitchcock for years to come and would result in an incident during the filming of his 1941 production ofMr. & Mrs. Smith, where Carole Lombard brought some heifers onto the set with name tags of Lombard, RobertMontgomery, and Gene Raymond, the stars of the film, to surprise the director. Hitchcock said he was misquoted: "I

said 'Actors should be treated like cattle'."[42]

At the end of the 1930s, David O. Selznick signed Hitchcock to a seven-year contract beginning in March 1939, whenthe Hitchcocks moved to the United States.

Hollywood

The suspense and the gallows humor that had become Hitchcock's trademark in film continued to appear in hisproductions. The working arrangements with Selznick were less than optimal. Selznick suffered from perennial moneyproblems, and Hitchcock was often displeased with Selznick's creative control over his films. In a later interview,Hitchcock summarised the working relationship thus:

[Selznick] was the Big Producer. [...] Producer was king, The most flattering thing Mr. Selznick ever said


4 of 24 9/4/2010 2:05 PM


Cary Grant and Ingrid Bergman inNotorious (1946)

about me — and it shows you the amount of control — he said I was the "only director" he'd "trust with a

film".[43]

Selznick loaned Hitchcock to the larger studios more often than producing Hitchcock's films himself. In addition,Selznick, as well as fellow independent producer Samuel Goldwyn, made only a few films each year, so Selznick did notalways have projects for Hitchcock to direct. Goldwyn had also negotiated with Hitchcock on a possible contract, onlyto be outbid by Selznick. Hitchcock was quickly impressed with the superior resources of the American studios

compared to the financial restrictions he had frequently encountered in England.[citation needed]

Hitchcock's fondness for his homeland resulted in numerous American films set in, or filmed in, the United Kingdom,[3]

including his penultimate film, Frenzy.

With the prestigious Selznick picture Rebecca in 1940, Hitchcock made his first American movie, set in England andbased on a novel by English author Daphne du Maurier. The film starred Laurence Olivier and Joan Fontaine. ThisGothic melodrama explores the fears of a naive young bride who enters a great English country home and must adapt to

the extreme formality and coldness she finds there. The film won the Academy Award for Best Picture of 1940.[44] The

statuette was given to Selznick, as the film's producer.[44] The film did not win the Best Director award for Hitchcock.

There were additional problems between Selznick and Hitchcock. Selznick was known to impose very restrictive rules

upon Hitchcock, forcing him to shoot the film as Selznick wanted.[citation needed] At the same time, Selznick complainedabout Hitchcock's "goddamn jigsaw cutting", which meant that the producer did not have nearly the leeway to create his

own film as he liked, but had to follow Hitchcock's vision of the finished product.[45] Rebecca was the fourth longest ofHitchcock's films, at 130 minutes, exceeded only by The Paradine Case (132 minutes), North by Northwest (136

minutes), and Topaz (142 minutes).[46]

Hitchcock's second American film, the European-set thriller Foreign Correspondent (1940), based on Vincent Sheean'sPersonal History and produced by Walter Wanger, was nominated for Best Picture that year. The movie was filmed in

the first year of World War II and was apparently inspired by the rapidly changing events in Europe,[citation needed] asfictionally covered by an American newspaper reporter portrayed by Joel McCrea. The film mixed actual footage ofEuropean scenes and scenes filmed on a Hollywood back lot. In compliance with Hollywood's Production Code

censorship, the film avoided direct references to Germany and Germans.[47]

1940s films

Hitchcock's films during the 1940s were diverse, ranging from the romanticcomedy Mr. & Mrs. Smith (1941) to the courtroom drama The Paradine Case(1947), to the dark and disturbing film noir Shadow of a Doubt (1943).

In September 1940, the Hitchcocks purchased the 200-acre (0.81 km2) CornwallRanch, located near Scotts Valley in the Santa Cruz Mountains. The ranchbecame the primary residence of the Hitchcocks for the rest of their lives,although they kept their Bel Air home. Suspicion (1941) marked Hitchcock'sfirst film as a producer as well as director. Hitchcock used the north coast of

Santa Cruz, California for the English coastline sequence.[18] This film was to beactor Cary Grant's first time working with Hitchcock, and it was one of the few

times that Grant would be cast in a sinister role.[18] Joan Fontaine[48] won Best

Actress Oscar[18] and the New York Film Critics Circle Award[49] for her"outstanding performance in Suspicion". "Grant plays an irresponsible husband whose actions raise suspicion and

anxiety in his wife (Fontaine)". In what critics regard as a classic scene[citation needed], Hitchcock uses a light bulb toilluminate what might be a fatal glass of milk that Grant is bringing to his wife. In the book upon which the movie is


5 of 24 9/4/2010 2:05 PM


based (Before the Fact by Francis Iles), the Grant character is a killer, but Hitchcock and the studio felt Grant's imagewould be tarnished by that ending. Though a homicide would have suited him better, as he stated to François Truffaut,

Hitchcock settled for an ambiguous finale.[50]

Saboteur (1942) was the first of two films that Hitchcock made for Universal, a studio where he would continue his

career during his later years. Hitchcock was forced[citation needed] to use Universal contract players Robert Cummingsand Priscilla Lane, both known for their work in comedies and light dramas. Breaking with Hollywood conventions ofthe time, Hitchcock did extensive location filming, especially in New York City, and depicted a confrontation between asuspected saboteur (Cummings) and a real saboteur (Norman Lloyd) atop the Statue of Liberty.

Shadow of a Doubt (1943), Hitchcock's personal favourite of all his films and the second of the early Universal

films,[51] was about young Charlotte "Charlie" Newton (Teresa Wright), who suspects her beloved uncle CharlieOakley (Joseph Cotten) of being a serial murderer. Critics have said that in its use of overlapping characters, dialogue,

and closeups it has provided a generation of film theorists with psychoanalytic potential[citation needed], includingJacques Lacan and Slavoj Žižek. Hitchcock again filmed extensively on location, this time in the Northern Californiacity of Santa Rosa, California, during the summer of 1942. The director showcased his own personal fascination withcrime and criminals when he had two of his characters discuss various ways of killing people, to the obvious annoyanceof Charlotte.

Working at 20th Century Fox, Hitchcock adapted a script of John Steinbeck's that chronicled the experiences of thesurvivors of a German U-boat attack in the film Lifeboat (1944). The action sequences were shot on the small boat. Thelocale also posed problems for Hitchcock's traditional cameo appearance. That was solved by having Hitchcock's imageappear in a newspaper that William Bendix is reading in the boat, showing the director in a before-and-after

advertisement for "Reduco-Obesity Slayer".[52] While at Fox, Hitchcock seriously considered directing the film version

of A.J. Cronin's novel about a Catholic priest in China[citation needed], The Keys of the Kingdom, but the plans for thisfell through. John M. Stahl ended up directing the 1944 film, which was produced by Joseph L. Mankiewicz and starred

Gregory Peck, among other luminaries.[53]

Returning to England for an extended visit in late 1943 and early 1944, Hitchcock made two short films for the Ministryof Information, Bon Voyage and Aventure Malgache. Made for the Free French, these were the only films Hitchcock

made in the French language, and "feature typical Hitchcockian touches".[54] In the 1990s, the two films were shownby Turner Classic Movies and released on home video.

In 1945, Hitchcock served as "treatment advisor" (in effect, a film editor) for a Holocaust documentary produced by theBritish Army. The film, which recorded the liberation of Nazi concentration camps, remained unreleased until 1985,

when it was completed by PBS Frontline and distributed under the title Memory of the Camps.[55][56]

Hitchcock worked for Selznick again when he directed Spellbound, which explored psychoanalysis[57] and featured adream sequence designed by Salvador Dalí. Gregory Peck plays amnesiac Dr. Anthony Edwardes under the treatment

of analyst Dr. Peterson (Ingrid Bergman), who falls in love with him while trying to unlock his repressed past.[58] Thedream sequence as it actually appears in the film is considerably shorter than was originally envisioned, which was to be

several minutes long[citation needed], because it proved to be too disturbing for the audience. Some of the original musicalscore by Miklós Rózsa (which makes use of the theremin) was later adapted by the composer into a concert pianoconcerto.

Notorious (1946) followed Spellbound. According to Hitchcock, in his book-length interview with François Truffaut,Selznick sold the director, the two stars (Grant and Bergman) and the screenplay (by Ben Hecht) to RKO RadioPictures as a "package" for $500,000 due to cost overruns on Selznick's Duel in the Sun (1946). Notorious starredHitchcock regulars Ingrid Bergman and Cary Grant, and features a plot about Nazis, uranium, and South America. It

was a huge box office success and has remained one of Hitchcock's most acclaimed films[citation needed]. His use ofuranium as a plot device led to Hitchcock's being briefly under FBI surveillance. McGilligan writes that Hitchcock


6 of 24 9/4/2010 2:05 PM


James Stewart and Grace Kelly inRear Window (1954)

consulted Dr. Robert Millikan of Caltech about the development of an atomic bomb. Selznick complained that thenotion was "science fiction", only to be confronted by the news stories of the detonation of two atomic bombs on

Hiroshima and Nagasaki in Japan in August 1945.[59]

After completing his final film for Selznick, The Paradine Case (a courtroom drama that critics found lost momentumbecause it apparently ran too long and exhausted its resource of ideas), Hitchcock filmed his first color film, Rope,which appeared in 1948. Here Hitchcock experimented with marshalling suspense in a confined environment, as he haddone earlier with Lifeboat (1943). He also experimented with exceptionally long takes — up to ten minutes long.Featuring James Stewart in the leading role, Rope was the first of four films Stewart would make for Hitchcock. It wasbased on the Leopold and Loeb case of the 1920s. Somehow Hitchcock's cameraman managed to move the bulky,heavy Technicolor camera quickly around the set as it followed the continuous action of the long takes.

Under Capricorn (1949), set in nineteenth-century Australia, also used the short-lived technique of long takes, but to amore limited extent. He again used Technicolor in this production, then returned to black and white films for severalyears. For Rope and Under Capricorn, Hitchcock formed a production company with Sidney Bernstein calledTransatlantic Pictures, which became inactive after these two unsuccessful pictures. Hitchcock continued to produce hisown films for the rest of his life.

1950s: Peak years

In 1950, Hitchcock filmed Stage Fright on location in the UK. For the first time,

Hitchcock matched one of Warner Bros.'[60] biggest stars, Jane Wyman, withthe sultry German actress Marlene Dietrich. Hitchcock used a number ofprominent British actors, including Michael Wilding, Richard Todd, and AlastairSim. This was Hitchcock's first production for Warner Bros., which haddistributed Rope and Under Capricorn, because Transatlantic Pictures was

experiencing financial difficulties.[61]

With the film Strangers on a Train (1951), based on the novel by PatriciaHighsmith, Hitchcock combined many elements from his preceding films.Hitchcock approached Dashiell Hammett to write the dialogue but Raymond

Chandler took over, then left over disagreements with the director.[62] Two mencasually meet and speculate on removing people who are causing them difficulty. One of the men takes this banterentirely seriously. With Farley Granger reprising some elements of his role from Rope, Strangers continued the

director's interest in the narrative possibilities of blackmail and murder[citation needed]. Robert Walker, previously known

for "boy-next-door" roles, plays the villain.[63]

MCA head Lew Wasserman, whose client list included James Stewart, Janet Leigh and other actors who would appearin Hitchcock's films, had a significant impact in packaging and marketing Hitchcock's films beginning in the 1950s.

Three very popular films starring Grace Kelly followed. Dial M for Murder (1954) was adapted from the popular stageplay by Frederick Knott. Ray Milland plays the scheming villain, an ex-tennis pro who tries to murder his unfaithfulwife Grace Kelly for her money. When she kills the hired assassin in self-defense, Milland manipulates the evidence topin the death on his wife. Her lover, Mark Halliday (Robert Cummings), and Police Inspector Hubbard (John Williams),

work urgently to save her from execution.[64] Hitchcock experimented with 3D cinematography, although the film wasnot released in this format at first. However, it was shown in 3D in the early 1980s. The film marked a return toTechnicolor 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. Stewart's character, a photographer based on Robert Capa, musttemporarily use a wheelchair; out of boredom he begins observing his neighbors across the courtyard, and becomesconvinced one of them (Raymond Burr) has murdered his wife. Stewart tries to sway both his glamorous model-


7 of 24 9/4/2010 2:05 PM


James Stewart and Kim Novak inVertigo (1958)

Hitchcock at work onlocation in San Francisco.

girlfriend (Kelly) and his policeman buddy (Wendell Corey) to his theory, and eventually succeeds.[65] Like Lifeboatand Rope, the movie was photographed almost entirely within the confines of a small space: Stewart's tiny studioapartment overlooking the massive courtyard set. Hitchcock used closeups of Stewart's face to show his character'sreactions to all he sees, "from the comic voyeurism directed at his neighbors to his helpless terror watching Kelly and

Burr in the villain's apartment".[65]

The third Kelly film, To Catch a Thief (1955), set in the French Riviera, paired Kelly with Cary Grant again. Grantplays retired thief John Robie, who becomes the prime suspect for a spate of robberies in the Riviera. An Americanheiress played by Kelly surmises his true identity, attempts to seduce him. "Despite the obvious age disparity betweenGrant and Kelly and a lightweight plot, the witty script (loaded with double-entendres) and the good-natured acting

proved a commercial success."[66] It was Hitchcock's last film with Kelly. She married Prince Rainier of Monaco in1956, 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 starring Stewart andDoris Day, who sang the theme song, "Que Sera, Sera (Whatever Will Be, Will Be)" (which won the Oscar for "BestMusic" and became a big hit for Day). They play a couple whose son is kidnapped to prevent them from interfering withan assassination.

The Wrong Man (1957), Hitchcock's final film for Warner Brothers, was alow-key black-and-white production based on a real-life case of mistakenidentity reported in Life Magazine in 1953. This was the only film of Hitchcock'sto star Henry Fonda. Fonda plays a Stork Club musician mistaken for a liquorstore thief who is arrested and tried for robbery while his wife (newcomer VeraMiles) emotionally collapses under the strain. Hitchcock told Truffaut that hislifelong fear of the police attracted him to the subject and was embedded in

many scenes.[67]

Vertigo (1958) again starred Stewart, this time with Kim Novak and Barbara BelGeddes. Stewart plays "Scottie", a former police investigator suffering fromacrophobia, who develops an obsession with a woman he is shadowing (Novak). Scottie's obsession leads to tragedy,and this time Hitchcock does not opt for a happy ending. Though the film is widely considered a classic today, Vertigomet with negative reviews and poor box office receipts upon its release, and marked the last collaboration between

Stewart and Hitchcock.[68] The film is ranked second (behind Citizen Kane) in the 2002 Sight & Sound decade poll. It

was premiered in the San Sebastián International Film Festival,[69] where Hitchcock won a Silver Seashell.

Late 1950s, 1960s and 1970s

By this time, Hitchcock had filmed in many areas of the United States.[70] He followedVertigo with three more successful films. All are also recognized as among his verybest films: North by Northwest (1959), Psycho (1960) and The Birds (1963).

In North by Northwest, Cary Grant portrays Roger Thornhill, a Madison Avenue

advertising executive who is mistaken for a government secret agent.[71] He is hotlypursued by enemy agents across America, one of them Eve Kendall (Eva Marie Saint),who turns out to really be an American double agent.

Psycho is considered by some to be Hitchcock's most famous film.[72] Produced on ahighly constrained budget of $800,000, it was shot in black-and-white on a spare

set.[73] The unprecedented violence of the shower scene, the early demise of theheroine, the innocent lives extinguished by a disturbed murderer were all hallmarks of

Hitchcock, copied in many subsequent horror films.[74] After completing Psycho,


8 of 24 9/4/2010 2:05 PM


Hitchcock moved to Universal, where he made the remainder of his films.

The Birds, inspired by a Daphne Du Maurier short story and by an actual news story about a mysterious infestation of

birds in California, was Hitchcock's 49th film.[75] He signed up Tippi Hedren as his latest blonde heroine opposite RodTaylor. The scenes of the birds attacking included hundreds of shots mixing actual and animated sequences. The cause

of the birds' attack is left unanswered, "perhaps highlighting the mystery of forces unknown".[76]

The latter two films were particularly notable for their unconventional soundtracks, both orchestrated by BernardHerrmann: the screeching strings played in the murder scene in Psycho exceeded the limits of the time, and The Birdsdispensed completely with conventional instruments, instead using an electronically produced soundtrack and anunaccompanied song by school children (just prior to the infamous attack at the historic Bodega Bay School). These

films are considered his last great films, after which it is said his career started to lose pace[citation needed] (althoughsome critics, such as Robin Wood and Donald Spoto, contend that Marnie, from 1964, is first-class Hitchcock, andsome have argued that Frenzy is unfairly overlooked).

Failing health took its toll on Hitchcock, reducing his output during the last two decades of his career. Hitchcock filmedtwo spy thrillers. The first, Torn Curtain (1966), with Paul Newman and Julie Andrews, was a Cold War thriller. TornCurtain displays the bitter end of the twelve-year collaboration between Hitchcock and composer Bernard Herrmann.Herrmann was fired when Hitchcock was unsatisfied with his score. In 1969, Topaz, another Cold War-themed film

(based on a Leon Uris novel), was released. Both received mixed reviews from critics.[citation needed]

In 1972, Hitchcock returned to London to film Frenzy, his last major triumph. After two only moderately successfulespionage films, the plot marks a return to the murder thriller genre that he made so many films out of earlier in hiscareer. The basic story recycles his early film The Lodger. Richard Blaney (Jon Finch), a volatile barkeeper with ahistory of explosive anger, becomes the prime suspect for the "Necktie Murders", which are actually committed by his

friend Bob Rusk (Barry Foster).[77] This time, Hitchcock makes the victim and villain twins, rather than opposites, as in

Strangers on a Train. Only one of them, however, has crossed the line to murder.[77] For the first time, Hitchcockallowed nudity and profane language, which had before been taboo, in one of his films. He also shows rare sympathy for

the chief inspector and his comic domestic life.[78] Biographers have noted that Hitchcock had always pushed the limitsof film censorship, often managing to fool Joseph Breen, the longtime head of Hollywood's Production Code. Manytimes Hitchcock slipped in subtle hints of improprieties forbidden by censorship until the mid-1960s. Yet PatrickMcGilligan wrote that Breen and others often realized that Hitchcock was inserting such things and were actually

amused as well as alarmed by Hitchcock's "inescapable inferences".[79] Beginning with Torn Curtain, Hitchcock wasfinally able to blatantly include plot elements previously forbidden in American films and this continued for theremainder of his film career.

Family Plot (1976) was Hitchcock's last film. It related the escapades of "Madam" Blanche Tyler played by BarbaraHarris, a fraudulent spiritualist, and her taxi driver lover Bruce Dern making a living from her phony powers. WilliamDevane, Karen Black and Cathleen Nesbitt co-starred. It was the only Hitchcock film scored by John Williams.

Last film work and death

Near the end of his life, Hitchcock had worked on the script for a projected spy thriller, The Short Night, collaboratingwith screenwriters James Costigan and Ernest Lehman. Despite some preliminary work, the story was never filmed.This was due primarily to Hitchcock's own failing health and his concerns over the health of his wife, Alma, who had

suffered a stroke. The script was eventually published posthumously, in a book on Hitchcock's last years.[80][81]

Hitchcock died on the 29th April 1980, 9:17AM. He died peacefully in his sleep due to renal failure in his Bel Air, LosAngeles, California home at the age of 80, survived by his wife and their daughter. His funeral service was held at Good

Shepherd Catholic Church[82] in Beverly Hills. Hitchcock's body was cremated and his ashes were scattered over the

Pacific Ocean.[83][84]


9 of 24 9/4/2010 2:05 PM


Themes, plot devices and motifs

Main article: Themes and plot devices in the films of Alfred Hitchcock

Hitchcock returned several times to cinematic devices such as suspense, the audience as voyeur, and his well-known"McGuffin", an apparently minor detail serving as a pivot upon which the narrative turns.

Technical innovations

Hitchcock seemed to delight in the technical challenges of film making. In the film Lifeboat, Hitchcock stages the entireaction of the movie in a small boat, yet manages to keep the cinematography from monotonous repetition (his trademarkcameo appearance was a dilemma, given the limitations of the setting; so Hitchcock appears in a fictitious magazine fora weight loss product). Similarly, the entire action in Rear Window either takes place in or is seen from a singleapartment. In Spellbound, two unprecedented point-of-view shots were achieved by constructing a large wooden hand(which would appear to belong to the character whose point of view the camera took) and out-sized props for it to hold:a bucket-sized glass of milk and a large wooden gun. For added novelty and impact, the climactic gunshot washand-colored red on some copies of the black-and-white print of the film.

Rope (1948) was another technical challenge: a film that appears to have been shot entirely in a single take. The filmwas actually shot in 10 takes ranging from four and a half to 10 minutes each; a 10 minute length of film being themaximum a camera's film magazine could hold. Some transitions between reels were hidden by having a dark object fillthe entire screen for a moment. Hitchcock used those points to hide the cut, and began the next take with the camera inthe same place.

Hitchcock's 1958 film Vertigo contains a camera technique developed by Irmin Roberts that has been imitated andre-used many times by filmmakers, wherein the image appears to "stretch". This is achieved by moving the camera inthe opposite direction of the camera's zoom. It has become known as the Dolly zoom or "Vertigo Effect."

Signature appearances in his films

Main article: List of Hitchcock cameo appearances

Hitchcock appeared briefly in many of his own films, usually playing upon his portly figure in an incongruous manner,for example, seen struggling to get a double bass onto a train, or walking dogs in the background.

Psychology of characters

Hitchcock's films sometimes feature characters struggling in their relationships with their mothers. In North byNorthwest (1959), Roger Thornhill (Cary Grant's character) is an innocent man ridiculed by his mother for insisting thatshadowy, murderous men are after him. In The Birds (1963), the Rod Taylor character, an innocent man, finds hisworld under attack by vicious birds, and struggles to free himself of a clinging mother (Jessica Tandy). The killer inFrenzy (1972) has a loathing of women but idolizes his mother. The villain Bruno in Strangers on a Train hates hisfather, but has an incredibly close relationship with his mother (played by Marion Lorne). Sebastian (Claude Rains) inNotorious has a clearly conflictual relationship with his mother, who is (correctly) suspicious of his new bride AliciaHuberman (Ingrid Bergman). Norman Bates has troubles with his mother in Psycho.

Hitchcock heroines tend to be lovely, cool blondes who seem proper at first but, when aroused by passion or danger,respond in a more sensual, animal, or even criminal way. The famous victims in The Lodger are all blondes. In The 39Steps, Hitchcock's glamorous blonde star, Madeleine Carroll, is put in handcuffs. In Marnie (1964), the title character(played by Tippi Hedren) is a kleptomaniac. In To Catch a Thief (1955), Francie (Grace Kelly) offers to help a man shebelieves is a burglar. In Rear Window, Lisa (Grace Kelly again) risks her life by breaking into Lars Thorwald'sapartment. The best known example is in Psycho where Janet Leigh's unfortunate character steals $40,000 and is


10 of 24 9/4/2010 2:05 PM


murdered by a reclusive psychopath. Hitchcock's last blonde heroine was — years after Dany Robin and her "daughter"Claude Jade in Topaz — Barbara Harris as a phony psychic turned amateur sleuth in his final film, 1976's Family Plot.In the same film, the diamond smuggler played by Karen Black could also fit that role, as she wears a long blonde wig invarious scenes and becomes increasingly uncomfortable about her line of work.

Some critics and Hitchcock scholars, including Donald Spoto and Roger Ebert, agree that Vertigo represents thedirector's most personal and revealing film, dealing with the obsessions of a man who crafts a woman into the woman hedesires. Vertigo explores more frankly and at greater length his interest in the relation between sex and death than any

other film in his filmography.[citation needed]

Hitchcock often said that his favorite film (of his own work) was Shadow of a Doubt.[citation needed]

Style of working

Writing

Hitchcock once commented, "The writer and I plan out the entire script down to the smallest detail, and when we'refinished all that's left to do is to shoot the film. Actually, it's only when one enters the studio that one enters the area ofcompromise. Really, the novelist has the best casting since he doesn't have to cope with the actors and all the rest." Inan interview with Roger Ebert in 1969, Hitchcock elaborated further:

Once the screenplay is finished, I'd just as soon not make the film at all... I have a strongly visual mind. Ivisualize a picture right down to the final cuts. I write all this out in the greatest detail in the script, and thenI don't look at the script while I'm shooting. I know it off by heart, just as an orchestra conductor needs notlook at the score... When you finish the script, the film is perfect. But in shooting it you lose perhaps 40 per

cent of your original conception.[85]

In Writing with Hitchcock, a book-length study of Hitchcock's working method with his writers, author Steven DeRosanoted that "Although he rarely did any actual 'writing', especially on his Hollywood productions, Hitchcock supervisedand guided his writers through every draft, insisting on a strict attention to detail and a preference for telling the storythrough visual rather than verbal means. While this exasperated some writers, others admitted the director inspired themto do their very best work. Hitchcock often emphasized that he took no screen credit for the writing of his films.However, over time the work of many of his writers has been attributed solely to Hitchcock’s creative genius, amisconception he rarely went out of his way to correct. Notwithstanding his technical brilliance as a director, Hitchcock

relied on his writers a great deal."[86]

Storyboards and production

Hitchcock's films were strongly believed to have been extensively storyboarded to the finest detail by the majority ofcommentators over the years. He was reported to have never even bothered looking through the viewfinder, since hedidn't need to do so, though in publicity photos he was shown doing so. He also used this as an excuse to never have tochange his films from his initial vision. If a studio asked him to change a film, he would claim that it was already shot ina single way, and that there were no alternate takes to consider.

However, this view of Hitchcock as a director who relied more on pre-production than on the actual production itselfhas been challenged by the book Hitchcock At Work, written by Bill Krohn, the American correspondent of Cahiers ducinéma. Krohn, after investigating several script revisions, notes to other production personnel written by or toHitchcock alongside inspection of storyboards, and other production material, has observed that Hitchcock's work oftendeviated from how the screenplay was written or how the film was originally envisioned. He noted that the myth ofstoryboards in relation to Hitchcock, often regurgitated by generations of commentators on his movies was to a greatdegree perpetuated by Hitchcock himself or the publicity arm of the studios. A great example would be the celebratedcrop spraying sequence of North by Northwest which was not storyboarded at all. After the scene was filmed, the


11 of 24 9/4/2010 2:05 PM


Alfred Hitchcock

publicity department asked Hitchcock to make storyboards to promote the film and Hitchcock in turn hired an artist tomatch the scenes in detail.

Even on the occasions when storyboards were made, the scene which was shot did differ from it significantly. Krohn'sextensive analysis of the production of Hitchcock classics like Notorious reveals that Hitchcock was flexible enough tochange a film's conception during its production. Another example Krohn notes is the American remake of The ManWho Knew Too Much, whose shooting schedule commenced without a finished script and moreover went over schedule,something which, as Krohn notes, was not an uncommon occurrence on many of Hitchcock's films, including Strangerson a Train and Topaz. While Hitchcock did do a great deal of preparation for all his movies, he was fully cognizant thatthe actual film-making process often deviated from the best laid plans and was flexible to adapt to the changes andneeds of production as his films were not free from the normal hassles faced and common routines utilised during manyother film productions.

Krohn's work also sheds light on Hitchcock's practice of generally shooting in chronological order, a practice which henotes often sent many of his films over budget and over schedule and, more importantly, differed from the standardoperating procedure of Hollywood in the Studio System Era. Equally important is Hitchcock's tendency to shootalternate takes of scenes. This differed from coverage in that the films weren't necessarily shot from varying angles so asto give the editor options to shape the film how he/she chooses (often under the producer's aegis). Rather theyrepresented Hitchcock's tendency of giving himself options in the editing room, where he would provide advice to hiseditors after viewing a rough cut of the work. According to Krohn, this and a great deal of other information revealedthrough his research of Hitchcock's personal papers, script revisions and the like refute the notion of Hitchcock as adirector who was always in control of his films, whose vision of his films did not change during production, whichKrohn notes has remained the central long-standing myth of Alfred Hitchcock.

His fastidiousness and attention to detail also found its way into each film poster for his films. Hitchcock preferred towork with the best talent of his day—film poster designers such as Bill Gold and Saul Bass—and kept them busy withcountless rounds of revision until he felt that the single image of the poster accurately represented his entire film.

Approach to actors

Similarly, much of Hitchcock's supposed dislike of actors has beenexaggerated. Hitchcock simply did not tolerate the methodapproach, as he believed that actors should only concentrate ontheir performances and leave work on script and character to thedirectors and screenwriters. In a Sight and Sound interview, hestated that, 'the method actor is OK in the theatre because he has afree space to move about. But when it comes to cutting the face and what he sees and so forth, there must be some

discipline'.[87] During the making of Lifeboat, Walter Slezak, who played the German character, stated that Hitchcockknew the mechanics of acting better than anyone he knew. Several critics have observed that despite his reputation as aman who disliked actors, several actors who worked with him gave fine, often brilliant performances and theseperformances contribute to the film's success.

Regarding Hitchcock's sometimes less than pleasant relationship with actors, there was a persistent rumor that he hadsaid that actors were cattle. Hitchcock later denied this, typically tongue-in-cheek, clarifying that he had only said thatactors should be treated like cattle. Carole Lombard, tweaking Hitchcock and drumming up a little publicity, brought

some cows along with her when she reported to the set of Mr. and Mrs. Smith.[citation needed] For Hitchcock, the actors,like the props, were part of the film's setting.

In the late 1950s, French New Wave critics, especially Éric Rohmer, Claude Chabrol and François Truffaut, wereamong the first to see and promote Hitchcock's films as artistic works. Hitchcock was one of the first directors to whomthey applied their auteur theory, which stresses the artistic authority of the director in the film-making process.

Hitchcock's innovations and vision have influenced a great number of filmmakers, producers, and actors. His influence

The length of a film should be directly related to theendurance of the human bladder.


12 of 24 9/4/2010 2:05 PM


helped start a trend for film directors to control artistic aspects of their movies without answering to the movie'sproducer.

Awards and honours

Academy Award nominations

Year Film Award Winner

1940 Rebecca Best Director John Ford – The Grapes of Wrath

1941 Suspicion Outstanding Motion Picture Darryl F. Zanuck – How Green Was My Valley

1944 Lifeboat Best Director Leo McCarey – Going My Way

1945 Spellbound Best Director Billy Wilder – The Lost Weekend

1954 Rear Window Best Director Elia Kazan – On the Waterfront

1960 Psycho Best Director Billy Wilder – The Apartment

1967 Irving G. Thalberg Memorial Award

Rebecca, which Hitchcock directed, won the 1940 Best Picture Oscar for its producer David O. Selznick. In addition toRebecca and Suspicion, two other films Hitchcock directed, Foreign Correspondent and Spellbound, were nominated

for Best Picture. Hitchcock is considered the Best Film Director of all time by The Screen Directory website.[88]

Sixteen films directed by Hitchcock earned Oscar nominations, though only six of those films earned Hitchcock himselfa nomination. The total number of Oscar nominations (including winners) earned by films he directed is fifty. Four ofthose films earned Best Picture nominations. Spellbound won the Academy Award for Best Original Music Score. ActorJoan Fontaine won the Academy Award for Best Actress for her performance in Suspicion, the only Academy Award–winning performance under Hitchcock's direction.

Six of Hitchcock's films are in the National Film Registry: Vertigo, Rear Window, North by Northwest, Shadow of aDoubt, Notorious, and Psycho; all but Shadow of a Doubt and Notorious were also in 1998's AFI's 100 best Americanfilms and the AFI's 2007 update. In 2008, four of Hitchcock's films were named among the ten best mystery films of alltime in the AFI's 10 Top 10. Those films are Vertigo (at No. 1); Rear Window (No. 3); North by Northwest (No. 7); and

Dial M for Murder (No. 9).[89]

Alfred Hitchcock received the AFI Life Achievement Award in 1979.[90]

Hitchcock was made a Knight Commander of the Order of the British Empire by Queen Elizabeth II in the 1980 NewYear's Honours. Although he had adopted American citizenship in 1956, he was entitled to use the title "Sir" because hehad remained a British subject. Hitchcock died just four months later, on 29 April, before he could be formally invested.[citation needed]

Fame

Hitchcock became famous for his expert and largely unrivaled control of pace and suspense, and his films draw heavilyon both fear and fantasy. The films are known for their droll humour and witticisms, and these cinematic works oftenportray innocent people caught up in circumstances beyond their control or understanding.

Hitchcock began his directing career in the United Kingdom in 1922. From 1939 onward, he worked primarily in the

United States. In September, 1940, Hitchcock had purchased a 200-acre (0.81 km2) mountaintop estate[91] for the sum

of $40,000.[18] Known as the 1870 Cornwall Ranch[92] or 'Heart o' the Mountain', the property was perched high aboveScotts Valley, California, at the end of Canham Road. The Hitchcocks resided there from 1940 to 1972. The Hitchcocks

became close friends with the parents of Joan Fontaine, after she starred in his film, Rebecca.[18] Years later, after abreak-in at his estate, Hitchcock replaced all of the accumulated paintings with studio-made copies. The family sold the


13 of 24 9/4/2010 2:05 PM


estate in 1974, six years before Hitchcock's death.[18]

Hitchcock and family also purchased a second home in late 1942 at 10957 Bellagio Road[93] in Los Angeles, just across

from the Bel Air Country Club.[94]

Rebecca was the only Hitchcock film to win the Academy Award for Best Picture[44] (though the award did not go toHitchcock but to producer David O. Selznick); four other films were nominated. In 1967, he was awarded the Irving G.

Thalberg Memorial Award[95] for lifetime achievement. He never won an Academy Award for direction of a film.

Television and books

Along with Walt Disney, Hitchcock was among the first prominent motion picture producers to fully envisage just howpopular the medium of television would become. From 1955 to 1965, Hitchcock was the host and producer of a

television series entitled Alfred Hitchcock Presents.[96] While his films had made Hitchcock's name strongly associatedwith suspense, the TV series made Hitchcock a celebrity himself. His irony-tinged voice and signature droll delivery,gallows humor, iconic image and mannerisms became instantly recognizable and were often the subject of parody.

The title-theme of the show pictured a minimalist caricature of Hitchcock's profile (he drew it himself; it is composed ofonly nine strokes) which his real silhouette then filled. His introductions before the stories in his program alwaysincluded some sort of wry humor, such as the description of a recent multi-person execution hampered by having onlyone electric chair, while two are now shown with a sign "Two chairs--no waiting!" He directed a few episodes of the TVseries himself, and he upset a number of movie production companies when he insisted on using his TV production crewto produce his motion picture Psycho. In the late 1980s, a new version of Alfred Hitchcock Presents was produced fortelevision, making use of Hitchcock's original introductions in a colorised form.

Alfred Hitchcock Presents was parodied by Friz Freleng's 1961 cartoon The Last Hungry Cat, which contains a plotsimilar to Blackmail.

"Hitch" used a curious little tune[97] by the French composer Charles Gounod (1818–1893),[98] the composer of the1859 opera Faust, as the theme "song" for his television programs, after it was suggested to him by composer BernardHerrmann. Arthur Fiedler and the Boston Pops Orchestra included the piece, Funeral March of a Marionette, in one oftheir extended play 45 rpm discs for RCA Victor during the 1950s.

Hitchcock appears as a character in the popular juvenile detective book series, Alfred Hitchcock and the ThreeInvestigators. The long-running detective series was created by Robert Arthur, who wrote the first several books,although other authors took over after he left the series. The Three Investigators—Jupiter Jones, Bob Andrews andPeter Crenshaw—were amateur detectives, slightly younger than the Hardy Boys. In the introduction to each book,"Alfred Hitchcock" introduces the mystery, and he sometimes refers a case to the boys to solve. At the end of eachbook, the boys report to Hitchcock, and sometimes give him a memento of their case.

When the real Hitchcock died, the fictional Hitchcock in the Three Investigators books was replaced by a retireddetective named Hector Sebastian. At this time, the series title was changed from Alfred Hitchcock and the ThreeInvestigators to The Three Investigators.

At the height of Hitchcock's success, he was also asked to introduce a set of books with his name attached. The serieswas a collection of short stories by popular short-story writers, primarily focused on suspense and thrillers. These titlesincluded Alfred Hitchcock's Anthology, Alfred Hitchcock Presents: Stories to be Read with the Door Locked, AlfredHitchcock's Monster Museum, Alfred Hitchcock's Supernatural Tales of Terror and Suspense, Alfred Hitchcock'sSpellbinders in Suspense, Alfred Hitchcock's Witch's Brew, Alfred Hitchcock's Ghostly Gallery, Alfred Hitchcock's AHangman's Dozen and Alfred Hitchcock's Haunted Houseful. Hitchcock himself was not actually involved in thereading, reviewing, editing or selection of the short stories; in fact, even his introductions were ghost-written. The entireextent of his involvement with the project was to lend his name and collect a check.


14 of 24 9/4/2010 2:05 PM


Some notable writers whose works were used in the collection, include Shirley Jackson (Strangers in Town, TheLottery), T.H. White (The Once and Future King), Robert Bloch, H. G. Wells (The War of the Worlds), Robert LouisStevenson, Sir Arthur Conan Doyle, Mark Twain and the creator of The Three Investigators, Robert Arthur.

Hitchcock also wrote a mystery story for Look magazine in 1943, "The Murder of Monty Woolley". This was asequence of captioned photographs inviting the reader to inspect the pictures for clues to the murderer's identity;Hitchcock cast the performers as themselves; such as Woolley, Doris Merrick and make up man Guy Pearce, whomHitchcock identified, in the last photo, as the murderer. The article was reprinted in Games Magazine inNovember/December 1980.

Filmography

Main article: Alfred Hitchcock filmography

Frequently cast actors and actresses

7 films: Clare Greet: Number 13 (1922), The Ring (1927), The Manxman (1929), Murder! (1930), The Man WhoKnew Too Much (1934), Sabotage (1936), Jamaica Inn (1939)6 films: Leo G. Carroll: Rebecca (1940), Suspicion (1941), Spellbound (1945), The Paradine Case (1947),Strangers on a Train (1951), and North By Northwest (1959)4 films: Cary Grant: Suspicion (1941), Notorious (1946), To Catch a Thief (1955), and North By Northwest(1959)4 films: James Stewart: Rope (1948), Rear Window (1954), The Man Who Knew Too Much (1956), and Vertigo(1958)4 films: Edmund Gwenn: The Skin Game (1931), Waltzes from Vienna (1934), Foreign Correspondent (1940),and The Trouble with Harry (1955)3 films: Ingrid Bergman: Spellbound (1945), Notorious (1946), and Under Capricorn (1949)3 films: Grace Kelly: Dial M for Murder (1954), Rear Window (1954), and To Catch a Thief (1955)3 films: Basil Radford: Young and Innocent (1937), The Lady Vanishes (1938), Jamaica Inn (1939)3 films: John Williams: The Paradine Case (1947), Dial M for Murder, (1954), and To Catch a Thief (1955)3 films: Patricia Hitchcock: Stage Fright (1950), Strangers on a Train (1951), Psycho (1960)

Frequent collaborators

Actors and actresses

Sara AllgoodMurray AlperIngrid BergmanPaul BryarDonald CalthropLeonard CareyLeo G. CarrollEdward ChapmanHume Cronyn (also as writer)Violet FarebrotherBess FlowersCary GrantClare GreetEdmund GwennGordon HarkerTom Helmore

Film crew

Fred Ahern - Production ManagerMichael Balcon - ProducerJack Barron - MakeupSaul Bass - Main titles designRobert F. Boyle - Art Director/Production DesignerHenry Bumstead - Art DirectorRobert Burks - CinematographerHerbert Coleman - Assistant Director/ProducerJack E. Cox - CinematographerGraham Cutts - DirectorLowell J. Farrell - Assistant DirectorCharles Frend - Film EditorBill Gold - Film poster designerHilton A. Green - Assistant DirectorBobby Greene - First Assistant CameraEdith Head - Costume Designer


15 of 24 9/4/2010 2:05 PM


Patricia Hitchcock (daughter)Ian HunterIsabel JeansHannah JonesMalcolm KeenGrace KellyPhyllis KonstamJohn LongdenPercy MarmontBasil RadfordJeffrey SayreJames StewartJohn Williams

Screenwriters

Charles BennettJames BridieJoan HarrisonJohn Michael HayesBen HechtAngus MacPhailEliot Stannard

Bernard Herrmann - Music ComposerJ. McMillan Johnson - Art Director/ProductionDesignerBarbara Keon - Production AssistantEmile Kuri - Set DecorationBryan Langley - Cinematographer/Assistant CameraLouis Levy - Musical Director/Music ComposerNorman Lloyd - Producer/DirectorJohn Maxwell - ProducerDaniel McCauley - Assistant DirectorFrank Mills - Assistant DirectorGeorge Milo - Set DecorationIvor Montagu - Editor/ProducerHal Pereira - Art DirectorMichael Powell - Still Photographer/AssistantCameraAlma Reville (wife) - Assistant Director/WriterRita Riggs - Costume DesignerPeggy Robertson - AssistantEmile de Ruelle - Film EditorWilliam Russell - Sound RecordistDavid O. Selznick - ProducerHarry Stradling - Cinematographer/Director ofPhotographyLois Thurman - Script SupervisorDimitri Tiomkin - Music ComposerGeorge Tomasini - Film EditorJoseph A. Valentine - CinematographerGaetano di Ventimiglia - CinematographerWaldon O. Watson - Sound RecordistFranz Waxman - Music ComposerAlbert Whitlock - Matte PainterWilliam H. Ziegler - Film Editor

See also

Alfred Hitchcock filmographyList of film directors by nameDrew CasperList of unproduced Hitchcock projectsList of film collaborations

References

^ "Alfred Hitchcock"(http://archive.sensesofcinema.com/contents/directors/05/hitchcock.html) . Ken Mogg. Senses ofCinema. Sensesofcinema.com. Accessed 18 July2010.

1.

^ Obituary Variety, May 7, 1980.2.

a b "Alfred Hitchcock's America"(http://www.americanheritage.com/articles

3.

/magazine/ah/2007/2/2007_2_28.shtml) . DavidLehman. American Heritage. April/May 2007.Accessed 21 July 2010.

a b "Film Techniques of Alfred Hitchcock"(http://www.borgus.com/think/hitch.htm) . JeffBays. Borgus Productions. Borgus.com. December2007. Accessed 13 July 2010.

4.

^ "NOTORIOUS! (Hitchcock and his icy blondes)"5.


16 of 24 9/4/2010 2:05 PM


(http://www.independent.ie/entertainment/books/notorious-hitchcock-and-his-icy-blondes-1435652.html) . Paul Whitington. IrishIndependent. Independent.ie. 18 July 2009.Accessed 13 July 2010.^ Avedon, Richard (14 April 2007). "The top 21British directors of all time"(http://www.telegraph.co.uk/culture/film/starsandstories/3664474/The-top-21-British-directors-of-all-time.html) . London: The DailyTelegraph. http://www.telegraph.co.uk/culture/film/starsandstories/3664474/The-top-21-British-directors-of-all-time.html. Retrieved 8 July 2009."Unquestionably the greatest filmmaker to emergefrom these islands, Hitchcock did more than anydirector to shape modern cinema, which would beutterly different without him. His flair was fornarrative, cruelly withholding crucial information(from his characters and from us) and engaging theemotions of the audience like no one else."

6.

^ "British Directors"(http://www.rssfilmstudies.co.uk/british-directors) .RSS Film studies. http://www.rssfilmstudies.co.uk/british-directors. Retrieved 11 June 2008.

7.

^ "The 25 Most Influential Directors of All Time"(http://www.moviemaker.com/directing/article/the_25_most_influential_directors_of_all_time_3358/). MovieMaker. Moviemaker.com. 6 July 2002.Accessed 27 March 2010.

8.

^ Patrick McGilligan, pg. 79.^ Spoto, Donald (1999). The dark side of genius:the life of Alfred Hitchcock. Da Capo Press. pp. 15.ISBN 030680932X.

10.

^ "Welcome to St. Ignatius College" (http://www.st-ignatius.enfield.sch.uk) . http://www.st-ignatius.enfield.sch.uk. Retrieved 5 March 2008.

11.

^ Patrick McGilligan, pgs.18–1912.^ "Hollywood in the Hills" (http://67.15.208.115/printstory.php?sid=28247&storySection=Style) .Sentinel Staff Report. 24 July 2005.http://67.15.208.115/printstory.php?sid=28247&storySection=Style. Retrieved 5 March 2008.

13.

^ Patrick McGilligan, pgs.7–814.^ Patrick McGilligan, pg.915.^ Patrick McGillang, pg 25. The school is now partof Tower Hamlets College.

16.

^ Patrick McGilligan, pgs.24–2517.

a b c d e f g "Local Inspiration for Movie Classics:Hitchcock had Link to Santa Cruz"(http://www.santacruzpl.org/history/films/hitch.shtml) . Santa Cruz Putlic Libraries, Ca..http://www.santacruzpl.org/history/films/hitch.shtml. Retrieved 4 March 2008.

18.

^ "Gainsborough Pictures (1924-51)"19.

(http://www.screenonline.org.uk/people/id/448996). British Film Institute ScreenOnline.http://www.screenonline.org.uk/people/id/448996.Retrieved 6 March 2008.^ Patrick McGilligan, pgs. 46–5120.^ Sidney Gottleib (ed), Alfred Hitchcock:Interviews By Alfred Hitchcock. Illustrated Edition.(Univ. Press of Mississippi, 2003). pp. 157–158.

21.

a b Donald Spoto. The Art of Alfred Hitchcock.New York: Anchor Books, 1976–1992. p. 3 ISBN0-385-41813-2

22.

a b "Balcon, Michael (1896–1977) ExecutiveProducer" (http://www.screenonline.org.uk/people/id/447085/index.html) . British Film InstituteScreenOnline. http://www.screenonline.org.uk/people/id/447085/index.html. Retrieved 6 March2008.

23.

^ "Studio Babelsberg makes comeback"(http://www.hollywoodreporter.com/hr/content_display/awards_festivals/berlin/features/e3i1e0e186c138b9329812cc14639122aac) . TheHollywood Reporter. 8 February 2008.http://www.hollywoodreporter.com/hr/content_display/awards_festivals/berlin/features/e3i1e0e186c138b9329812cc14639122aac.Retrieved 6 March 2008.

24.

^ Patrick McGilligan, pgs. 68-7125.^ Donald Spoto. The Art of Alfred Hitchcock. NewYork: Anchor Books, 1976–1992. p. 5 ISBN0-385-41813-2

26.

^ See Robert E. Kapsis, Hitchcock: The Making ofa Reputation. Illustrated Edition. (University ofChicago Press, 1992). p. 19

27.

^ Alan Jones (2005) The rough guide to horrormovies p.20. Rough Guides, 2005

28.

^ "Hitchcockian Stuff"(http://www.alfredsplace.com/hitchcockian_stuff.htm) . Alfredsplace.com.http://www.alfredsplace.com/hitchcockian_stuff.htm. Retrieved 6 March 2008.

29.

^ "Ask the Critic-The Hitch Is Back-What, exactly,makes a film Hitchcockian." (http://www.ew.com/ew/article/0,,1146038,00.html) . EntertainmentWeekly (EW.COM). http://www.ew.com/ew/article/0,,1146038,00.html. Retrieved 6 March 2008.

30.

^ Patrick McGilligan, pg.8531.^ Charlotte Chandler (2006) It's only a movie:Alfred Hitchcock : a personal biography(http://books.google.co.uk/books?id=glp97Y_eVSIC&pg=PA44&dq=alma+hitchcock&hl=en&ei=MT56TKH2EYvNjAeZqqSZBg&sa=X&oi=book_result&ct=result&resnum=5&ved=0CD8Q6AEwBA#v=onepage&

32.


17 of 24 9/4/2010 2:05 PM


q=alma%20hitchcock&f=false) Hal LeonardCorporation, 2006^ Rob White, Edward Buscombe British FilmInstitute film classics, Volume 1 p.94. Taylor &Francis, 2003

33.

^ Richard Allen, S. Ishii-Gonzalès Hitchcock: pastand future (http://books.google.com/books?id=cFEYI_wNKAcC&pg=PR15&dq=Blackmail+(1929),+is+regarded+as+the+first+British+sound+feature,&hl=en&ei=2k49TOa-G6KI0wT0ubTIDg&sa=X&oi=book_result&ct=result&resnum=8&ved=0CE0Q6AEwBw#v=onepage&q&f=false)Routledge, 2004

34.

^ "American Masters-Alfred Hitchcock"(http://www.pbs.org/wnet/americanmasters/database/hitchcock_a.html) . Public BroadcastingSystem. http://www.pbs.org/wnet/americanmasters/database/hitchcock_a.html. Retrieved 5 March2008.

35.

^ Patrick McGilligan, pgs.120-12336.^ "Gaumont-British Picture Corporation"(http://ftvdb.bfi.org.uk/sift/organisation/8529) .British Film Institute. http://ftvdb.bfi.org.uk/sift/organisation/8529. Retrieved 6 March 2008.

37.

^ The British Film Institute 100(http://www.bfi.org.uk/features/bfi100/1-10.html#4)

38.

^ Patrick McGilligan, pg.15839.^ "Lions of British Cinema-Sir Alfred JosephHitchcock, (13 August 1899 – 29 April 1980)"(http://www.avantgardenow.com/hitchcock.html) .AvantGardeNow.com.http://www.avantgardenow.com/hitchcock.html.Retrieved 6 March 2008.

40.

^ "Alfred Hitchcock Quotes"(http://www.brainyquote.com/quotes/quotes/a/alfredhitc160956.html) . Brainy Quote.http://www.brainyquote.com/quotes/quotes/a/alfredhitc160956.html. Retrieved 4 March 2008.

41.

^ Patrick McGilligan, pgs. 210-211, 277; AmericanMovie Classics

42.

^ Sidney Gottlieb, Alfred Hitchcock: Interviews ByAlfred Hitchcock. Illustrated Edition. (Univ. Pressof Mississippi, 2003). pp. 206.

43.

a b c "Awards for Rebecca (1940)"(http://www.imdb.com/title/tt0032976/awards) .Internet Movie Database. http://www.imdb.com/title/tt0032976/awards. Retrieved 7 March 2008.

44.

^ Patrick McGilligan, pp. 251-25245.^ Patrick McGilligan, pg.25346.^ Patrick McGilligan, pg.24447.^ "Joan Fontaine" (http://www.hollywood.com/celebrity/Joan_Fontaine/197679) . Hollywood.com.http://www.hollywood.com/celebrity/Joan_Fontaine

48.

/197679. Retrieved 5 March 2008.^ "New York Film Critics Circle Winners In the40's" (http://www.webcitation.org/5kmWxZj10) .Geocities. Archived from the original(http://www.geocities.com/ps971100/NYFCC40.htm) on 25 October 2009.http://www.webcitation.org/5kmWxZj10. Retrieved5 March 2008.

49.

^ Thomas Leitch, The Encyclopedia of AlfredHitchcock, Facts on File, New York, pp. 324–5,ISBN 0-8160-4386-8

50.

^ In an interview on the Dick Cavett show aired on8 June 1972, when asked if he had a personalfavorite, Hitchcock responded that it was Shadow ofa Doubt.

51.

^ Leitch, p. 18152.^ Patrick McGilligan, pg.343.53.^ Patrick McGilligan, pgs.346-34854.^ Patrick McGilligan, pgs. 372-37455.^ "FRONTLINE: "Memory of the Camps""(http://www.pbs.org/wgbh/pages/frontline/camp) .Public Broadcasting System (PBS).http://www.pbs.org/wgbh/pages/frontline/camp.Retrieved 7 March 2008.

56.

^ Boyd, David (2000). The Parted Eye: Spellboundand Psychoanalysis(http://archive.sensesofcinema.com/contents/00/6/spellbound.html)

57.

^ Leitch, p. 31058.^ Patrick McGilligan, pgs.366-38159.^ "Warner Brothers Studios"(http://www2.warnerbros.com/main/homepage/homepage.html) . http://www2.warnerbros.com/main/homepage/homepage.html. Retrieved 6March 2008.

60.

^ Patrick McGilligan, pgs. 429, 774-77561.^ Leitch, p. 32062.^ Leitch, p. 32263.^ Leitch, pp. 78–8064.

a b Leitch, p. 26965.^ Leitch, p. 36666.^ Leitch, p. 37767.^ Leitch, pp. 376–768.^ "Donostia Zinemaldia Festival de San SebastianInternational Film Festival"(http://www.sansebastianfestival.com/2007/es3/portada.php) . http://www.sansebastianfestival.com/2007/es3/portada.php. Retrieved 6 March 2008.

69.

^ "Hitchcock's America Lifelong LearningInstitute-Fall 2001" (http://yorty.sonoma.edu/filmfrog/archive/hitchmap.html) . Sonoma StateUniversity. http://yorty.sonoma.edu/filmfrog/archive/hitchmap.html. Retrieved 5 March 2008.

70.

^ Leitch, p. 23471.


18 of 24 9/4/2010 2:05 PM


^ Leitch, p. 26072.^ Leitch, p. 326173.^ Leitch, p. 26274.^ Leitch, p. 3275.^ Leitch, p. 3376.

a b Leitch, p. 11477.^ Leitch, p. 11578.^ Patrick McGilligan, pg.24979.^ Patrick McGilligan, pgs.731-73480.^ Freeman, David (1999). The Last Days of AlfredHitchcock. Overlook. ISBN 087951728X.

81.

^ "Good Shepherd Catholic Church Beverly Hills,CA 90210" (http://shepherd.catholicweb.com) .http://shepherd.catholicweb.com. Retrieved 4March 2008.

82.

^ "Alfred Hitchcock Dies; A Master of Suspense;Alfred Hitchcock, Master of Suspense andCelebrated Film Director, Dies at 80 IncreasinglyPessimistic Sought Exotic Settings TechnicalChallenges Became a Draftsman Lured toHollywood". The New York Times. 30 April 1980.

83.

^ "Alfred Hitchcock Dies; A Master of Suspense;Alfred Hitchcock, Master of Suspense andCelebrated Film Director, Dies at 80 IncreasinglyPessimistic Sought Exotic Settings TechnicalChallenges Became a Draftsman Lured toHollywood" (http://select.nytimes.com/gst/abstract.html?res=FB0B16FF395410728DDDA90B94DC405B8084F1D3&scp=1&sq=Alfred+Hitchcock+Dies&st=p) . TheNew York Times. 30 April 1980.http://select.nytimes.com/gst/abstract.html?res=FB0B16FF395410728DDDA90B94DC405B8084F1D3&scp=1&sq=Alfred+Hitchcock+Dies&st=p.Retrieved 7 March 2008.

84.

^ "Hitchcock: "Never mess about with a dead body- you may be one...""(http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19691214/PEOPLE/912140301/1023) . Rogerebert.suntimes.com. 14 December1969. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19691214/PEOPLE/912140301/1023. Retrieved 26 July 2009.

85.

^ Steven DeRosa, Writing with Hitchcock, NewYork: Faber and Faber, 2001, p. xi.

86.

^ "Alfred Hitchcock" (http://www.bfi.org.uk/features/interviews/hitchcock.html#actors) . BFI(Because Films Inspire). http://www.bfi.org.uk/features/interviews/hitchcock.html#actors.Retrieved 4 March 2008.

87.

^ "The Screen Directory"(http://www.thescreendirectory.com/cat4/top_tens.php?c=40) . Thescreendirectory.com.http://www.thescreendirectory.com/cat4/top_tens.php?c=40. Retrieved 6 October

88.

2008.^ American Film Institute (17 June 2008). "AFICrowns Top 10 Films in 10 Classic Genres"(http://www.comingsoon.net/news/movienews.php?id=46072) .ComingSoon.net. http://www.comingsoon.net/news/movienews.php?id=46072. Retrieved 18 June2008.

89.

^ American Film Institute. "1979: Alfred Hitchcock,7th AFI Life Achievement Award"(http://www.afi.com/tvevents/laa/laa79.aspx) . TV &Events. http://www.afi.com/tvevents/laa/laa79.aspx.Retrieved 23 October 2009.

90.

^ Marion Dale Pokriots. "Women of the Rancho"(http://www.svchamber.org/svhistory/history/women.htm) . Scotts Valley Chamber ofCommerce. http://www.svchamber.org/svhistory/history/women.htm. Retrieved 5 March 2008.

91.

^ "Alfred Hitchcock Appreciation Society"(http://www.virb.com/groups/65516499) . virb.com.http://www.virb.com/groups/65516499. Retrieved 5March 2008.

92.

^ "10957 Bellagio Road Alfred Hitchcock's home"(http://www.onthisveryspot.com/find/spot.php?spot_web_name=10957_Bellagio_Road. On this very spotDOTcom.http://www.onthisveryspot.com/find/spot.php?spot_web_name=10957_Bellagio_RoadRetrieved 7 March 2008.

93.

^ "Bel Air Country Club" (http://www.bel-aircc.org/belair) . http://www.bel-aircc.org/belair. Retrieved6 March 2008.

94.

^ "Irving G. Thalberg Memorial Award"(http://www.oscars.org/aboutacademyawards/awards/thalberg.html) . Academy of Motion PictureArts and Sciences. http://www.oscars.org/aboutacademyawards/awards/thalberg.html.Retrieved 5 March 2008.

95.

^ "Alfred Hitchcock Presents" (http://www.tv.com/alfred-hitchcock-presents/show/238/summary.html). TV.COM. http://www.tv.com/alfred-hitchcock-presents/show/238/summary.html. Retrieved 5March 2008.

96.

^ "Alfred Hitchcock (suspense anthology)"(http://www.classicthemes.com/50sTVThemes/themePages/alfredHitchcock.html) . MediaManagement Group. http://www.classicthemes.com/50sTVThemes/themePages/alfredHitchcock.html.Retrieved 4 March 2008.

97.

^ "Filmography by year for Charles Gounod"(http://www.imdb.com/name/nm0006111/filmoyear). Internet Movie Database. http://www.imdb.com/name/nm0006111/filmoyear. Retrieved 4 March2008.

98.


19 of 24 9/4/2010 2:05 PM


Further reading

Auiler, Dan: Hitchcock's notebooks: an authorized and illustrated look inside the creative mind of AlfredHitchcock. New York, Avon Books, 1999. Much useful background to the films.Barr, Charles: English Hitchcock. Cameron & Hollis, 1999. On the early films of the director.Conrad, Peter: The Hitchcock Murders. Faber and Faber, 2000. A highly personal and idiosyncratic discussion ofHitchcock's oeuvre.DeRosa, Steven: Writing with Hitchcock. Faber and Faber, 2001. An examination of the collaboration betweenHitchcock and screenwriter John Michael Hayes, his most frequent writing collaborator in Hollywood. Their filmsinclude Rear Window and The Man Who Knew Too Much.Deutelbaum, Marshall; Poague, Leland (ed.): A Hitchcock Reader. Iowa State University Press, 1986. Awide-ranging collection of scholarly essays on Hitchcock.Durgnat, Raymond: The strange case of Alfred Hitchcock Cambridge, Massachusetts: MIT Press, 1974 OCLC1233570 (http://www.worldcat.org/oclc/1233570)Durgnat, Raymond; James, Nick; Gross, Larry: Hitchcock British Film Institute, 1999 OCLC 42209162(http://www.worldcat.org/oclc/42209162)Durgnat, Raymond: A long hard look at Psycho London: British Film Institute Pub., 2002 OCLC 48883020(http://www.worldcat.org/oclc/48883020)Giblin, Gary: Alfred Hitchcock's London. Midnight Marquee Press, 2006, (Paperback: ISBN 188766467X)Gottlieb, Sidney: Hitchcock on Hitchcock. Faber and Faber, 1995. Articles, lectures, etc. by Hitchcock himself.Basic reading on the director and his films.Gottlieb, Sidney: Alfred Hitchcock: Interviews. University Press of Mississippi, 2003. A collection of Hitchcockinterviews.Grams, Martin, Jr. & Wikstrom, Patrik: The Alfred Hitchcock Presents Companion. OTR Pub, 2001, (Paperback:ISBN 0970331010)Haeffner, Nicholas: Alfred Hitchcock. Longman, 2005. An undergraduate-level text.Hitchcock, Patricia; Bouzereau, Laurent: Alma Hitchcock: The Woman Behind the Man. Berkley, 2003.Krohn, Bill: Hitchcock at Work. Phaidon, 2000. Translated from the award-winning French edition. The nitty-gritty of Hitchcock's filmmaking from scripting to post-production.Leff, Leonard J.: Hitchcock and Selznick. Weidenfeld & Nicolson, 1987. An in-depth examination of the richcollaboration between Hitchcock and David O Selznick.Leitch, Thomas: The Encyclopedia of Alfred Hitchcock (ISBN 0816043876). Checkmark Books, 2002. A single-volume encyclopedia of all things Hitchcock.McDevitt, Jim; San Juan, Eric: A Year of Hitchcock: 52 Weeks with the Master of Suspense. Scarecrow Press,2009, (ISBN 081086388X). A comprehensive film-by-film examination of Hitchcock's artistic development from1927 through 1976.McGilligan, Patrick: Alfred Hitchcock: A Life in Darkness and Light. Regan Books, 2003. A comprehensivebiography of the director.Modleski, Tania: The Women Who Knew Too Much: Hitchcock And Feminist Theory. Routledge, 2005 (2ndedition). A collection of critical essays on Hitchcock and his films; argues that Hitchcock's portrayal of womenwas ambivalent, rather than simply misogynist or sympathetic (as widely thought).Mogg, Ken. The Alfred Hitchcock Story. Titan, 2008 (revised edition). Note: the original 1999 UK edition, fromTitan, and the 2008 re-issue world-wide, also from Titan, have significantly more text than the 1999 abridged USedition from Taylor Publishing. New material on all the films.Paglia, Camille. The Birds. British Film Institute, January 2008 ISBN 0851706517Rebello, Stephen: Alfred Hitchcock and the Making of Psycho. St. Martin's, 1990. Intimately researched anddetailed history of the making of Psycho,.Rohmer, Eric; Chabrol, Claude. Hitchcock, the first forty-four films (ISBN 0804427437). F. Ungar, 1979. Firstbook-long study of Hitchock art and probably still the best one.Rothman, William. The Murderous Gaze. Harvard Press, 1980. Auteur study that looks at several Hitchcock filmsintimately.Spoto, Donald: The Art of Alfred Hitchcock. Anchor Books, 1992. The first detailed critical survey of Hitchcock'swork by an American.Spoto, Donald: The Dark Side of Genius. Ballantine Books, 1983. A biography of Hitchcock, featuring a


20 of 24 9/4/2010 2:05 PM


controversial exploration of Hitchcock's psychology.Taylor, Alan: Jacobean Visions: Webster, Hitchcock and the Google Culture, Peter Lang, 2007.Truffaut, François: Hitchcock. Simon and Schuster, 1985. A series of interviews of Hitchcock by the influentialFrench director.Vest, James: Hitchcock and France: The Forging of an Auteur. Praeger Publishers, 2003. A study of Hitchcock'sinterest in French culture and the manner by which French critics, such as Truffaut, came to regard him in suchhigh esteem.Weibel, Adrian: Spannung bei Hitchcock. Zur Funktionsweise der auktorialen Suspense. (ISBN978-3-8260-3681-1) Würzburg: Königshausen & Neumann, 2008Wikstrom, Patrik & Grams, Martin, Jr.: The Alfred Hitchcock Presents Companion. OTR Pub, 2001, (Paperback:ISBN 0970331010)Wood, Robin: Hitchcock's Films Revisited. Columbia University Press, 2002 (2nd edition). A much-citedcollection of critical essays, now supplemented and annotated in this second edition with additional insights andchanges that time and personal experience have brought to the author (including his own coming-out as a gayman).Youngkin, Stephen D. (2005). The Lost One: A Life of Peter Lorre. University Press of Kentucky.ISBN 0-813-12360-7. -- Contains interviews with Alfred Hitchcock and a discussion of the making of The ManWho Knew Too Much (1934) and Secret Agent (1936), which co-starred classic film actor Peter Lorre.

External links

Find more about Alfred Hitchcock on Wikipedia's sister projects:

Textbooks from Wikibooks

Quotations from Wikiquote

Images and media from Commons

News stories from Wikinews

Wiki

Alfred Hitchcock Wiki (http://www.hitchcockwiki.com)

Hitchcock sites

Alfred-Hitchcock.com (http://www.alfred-hitchcock.com) - Official Website - Includes biography, filmography,cameos and trivia.Hitchcock.in (http://www.hitchcock.in/alfred/) - Includes biography, filmography, quotes, cameos, trailers,interviews about Alfred Hitchcock.HitchcockOnline (http://www.hitchcockonline.org) - Contains a lengthy online essay and related links.Writing With Hitchcock (http://www.writingwithhitchcock.com) - includes original interviews, essays, scriptexcerpts, and extensive material on Hitchcock's unproduced works.Works by or about Alfred Hitchcock (http://worldcat.org/identities/lccn-n79-27022) in libraries (WorldCatcatalog)"Alfred Hitchcock" (http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=486) . Find a Grave.http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=486. Retrieved August 9, 2010.Alfred Hitchcock Scholars/"MacGuffin" home page (http://www.labyrinth.net.au/%7Emuffin/news-home_c.html)- includes news, discussion, links to site's other pagesAlfred Hitchcock Geek (http://www.alfredhitchcockgeek.com) - Includes news, book reviews and essays aboutAlfred Hitchcock.Alfred Hitchcock Fans Online (http://www.hitchcockfans.com) - The definitive Alfred Hitchcock fansite - withlarge community forums, pictures, up to date news, and a vast wealth of information about Hitchcock films.A Year of Hitchcock (http://www.ayearofhitchcock.com) - Weekly podcast and discussion of Hitchcock's films


21 of 24 9/4/2010 2:05 PM


from the authors of A Year of Hitchcock: 52 Weeks with the Master of Suspense.

Film and TV sites

Alfred Hitchcock (http://ftvdb.bfi.org.uk/sift/individual/153) at the BFIAlfred Hitchcock (http://www.imdb.com/name/nm0000033/) at the Internet Movie DatabaseAlfred Hitchcock (http://www.allmovie.com/artist/94487) at AllmovieAlfred Hitchcock (http://tcmdb.com/participant/participant.jsp?participantId=87065) at the TCM Movie DatabaseAlfred Hitchcock (http://www.tv.com/person/38751/summary.html) at TV.comAlfred Hitchcock (http://www.rottentomatoes.com/celebrity/alfred_hitchcock) at Rotten Tomatoes CelebrityProfileHitchcock's Style (http://www.screenonline.org.uk/tours/hitch/tour1.html) -- online exhibit from screenonline, awebsite of the British Film InstituteHitchcock EyeGate Collection (http://www.eyegate.com/Hitchcock)Alfred Hitchcock Movie Trailers (http://kinovorschau.org/index.php?type=Director&search=Alfred+Hitchcock&submit=Suchen&task=search&option=com_trailers&lang=en)Alfred Hitchcock and Anny Ondra in Sound Test for Blackmail (1929) (http://www.youtube.com/watch?v=zl6SMOSXa7A)Alfred Hitchcock (http://www.screenonline.org.uk/people/id/446568/) at the British Film Institute's Screenonline

Profiles and interviews

Alfred Hitchcock Biography from Answers.com (http://www.answers.com/topic/alfred-hitchcock)Film Reference - Brief Profile on Hitchcock by Robin Wood (http://www.filmreference.com/Directors-Ha-Ji/Hitchcock-Alfred.html)Senses of Cinema's "Great Directors" Alfred Hitchcock profile (http://archive.sensesofcinema.com/contents/directors/05/hitchcock.html)EuroScreenwriters features interviews with Hitchcock, both text and video (http://zakka.dk/euroscreenwriters/interviews/alfred_hitchcock.htm)Not For The Birds: David Sterritt Zooms In On The Mystery And Mastery Of Hitchcock's Movies(http://simplycharly.com/hitchcock/david_sterritt_interview.htm)One-hour video interview with Alfred Hitchcock by Tom Snyder (http://www.cinematical.com/2009/10/16/watch-this-rare-one-hour-interview-with-alfred-hitchcock/)

Essays

Essay: The Lodger: The First 'Hitchcock' Film (http://www.cinemademerde.com/Essay-Lodger_Hitchcocks_First_Film.shtml)Basic Hitchcock Film Techniques (http://www.borgus.com/think/hitch.htm)

Images

LIFE Presents: Alfred Hitchcock (http://www.life.com/image/first/in-gallery/47261/life-presents-alfred-hitchcock) - slideshow by Life magazine

Alfred Hitchcock filmography

1920sThe Pleasure Garden (1925) · The Mountain Eagle (1926; lost) · The Lodger: A Story of the London Fog (1927) ·The Ring (1927) · Downhill (1927) · The Farmer's Wife (1928) · Easy Virtue (1928) · Champagne (1928) ·The Manxman (1929) · Blackmail (1929)

1930s

Juno and the Paycock (1930) · Murder! (1930) · The Skin Game (1931) · Mary (1931) · Rich and Strange (1931) ·Number Seventeen (1932) · Waltzes from Vienna (1934) · The Man Who Knew Too Much (1934) ·The 39 Steps (1935) · Secret Agent (1936) · Sabotage (1936) · Young and Innocent (1937) ·The Lady Vanishes (1938) · Jamaica Inn (1939)


22 of 24 9/4/2010 2:05 PM


1940sRebecca (1940) · Foreign Correspondent (1940) · Mr. & Mrs. Smith (1941) · Suspicion (1941) · Saboteur (1942) ·Shadow of a Doubt (1943) · Lifeboat (1944) · Spellbound (1945) · Notorious (1946) · The Paradine Case (1947) ·Rope (1948) · Under Capricorn (1949)

1950sStage Fright (1950) · Strangers on a Train (1951) · I Confess (1953) · Dial M for Murder (1954) ·Rear Window (1954) · To Catch a Thief (1955) · The Trouble with Harry (1955) ·The Man Who Knew Too Much (1956) · The Wrong Man (1956) · Vertigo (1958) · North by Northwest (1959)

1960s Psycho (1960) · The Birds (1963) · Marnie (1964) · Torn Curtain (1966) · Topaz (1969)

1970s Frenzy (1972) · Family Plot (1976)

ShortsAlways Tell Your Wife (1923; uncredited) · Elstree Calling (1930) · An Elastic Affair (1930; lost) ·Aventure malgache (1944) · Bon Voyage (1944) · The Fighting Generation (1944; uncredited) ·Watchtower Over Tomorrow (1945; uncredited)

Lists Unproduced projects · Themes and plot devices · Cameos

RelatedNumber 13 (1922; unfinished) · Alfred Hitchcock Presents (1955~65) ·Alfred Hitchcock: The Art of Making Movies (1990) · High Anxiety (1977) · "Hitchcockian"

Psycho series

RobertBloch'snovels

Psycho (1959) · Psycho II (1982) · Psycho House (1990)

Films Psycho (1960) · Psycho II (1983) · Psycho III (1986) · Psycho IV: The Beginning (1990)

Directors Alfred Hitchcock · Richard Franklin · Anthony Perkins · Mick Garris · Gus Van Sant

Screenwriters Joseph Stefano · Tom Holland · Charles Edward Pogue · Mick Garris

Characters Norman Bates · Norma Bates · Marion Crane · Lila Crane · Emma Spool

Other films Bates Motel (1987) · Psycho (remake - 1998)

Topicalbooks

Alfred Hitchcock and the Making of Psycho (1990 & 2010) · Robert Bloch's Psychos (1997) ·

Wikimedia Psycho

Awards for Alfred Hitchcock

AFI Life Achievement Award

John Ford (1973) · James Cagney (1974) · Orson Welles (1975) · William Wyler (1976) ·Bette Davis (1977) · Henry Fonda (1978) · Alfred Hitchcock (1979) · James Stewart (1980) ·Fred Astaire (1981) · Frank Capra (1982) · John Huston (1983) · Lillian Gish (1984) ·Gene Kelly (1985) · Billy Wilder (1986) · Barbara Stanwyck (1987) · Jack Lemmon (1988) ·Gregory Peck (1989) · David Lean (1990) · Kirk Douglas (1991) · Sidney Poitier (1992) ·Elizabeth Taylor (1993) · Jack Nicholson (1994) · Steven Spielberg (1995) · Clint Eastwood (1996) ·Martin Scorsese (1997) · Robert Wise (1998) · Dustin Hoffman (1999) · Harrison Ford (2000) ·Barbara Streisand (2001) · Tom Hanks (2002) · Robert De Niro (2003) · Meryl Streep (2004) ·George Lucas (2005) · Sean Connery (2006) · Al Pacino (2007) · Warren Beatty (2008) ·Michael Douglas (2009) · Mike Nichols (2010)

Film Society of Lincoln Center Gala Tribute Honorees

Charlie Chaplin (1972) · Fred Astaire (1973) · Alfred Hitchcock (1974) ·Joanne Woodward and Paul Newman (1975) · George Cukor (1978) · Bob Hope (1979) ·


23 of 24 9/4/2010 2:05 PM


John Huston (1980) · Barbara Stanwyck (1981) · Billy Wilder (1982) · Laurence Olivier (1983) ·Claudette Colbert (1984) · Federico Fellini (1985) · Elizabeth Taylor (1986) · Alec Guinness (1987) ·Yves Montand (1988) · Bette Davis (1989) · James Stewart (1990) · Audrey Hepburn (1991) ·Gregory Peck (1992) · Jack Lemmon (1993) · Robert Altman (1994) · Shirley MacLaine (1995) ·Clint Eastwood (1996) · Sean Connery (1997) · Martin Scorsese (1998) · Mike Nichols (1999) ·Al Pacino (2000) · Jane Fonda (2001) · Francis Ford Coppola (2002) · Susan Sarandon (2003) ·Michael Caine (2004) · Dustin Hoffman (2005) · Jessica Lange (2006) · Diane Keaton (2007) ·Meryl Streep (2008) · Tom Hanks (2009) · Michael Douglas (2010)

Academy Awards Irving G. Thalberg Memorial Award

Darryl F. Zanuck (1938) · Hal B. Wallis (1939) · David O. Selznick (1940) · Walt Disney (1942) ·Sidney Franklin (1943) · Hal B. Wallis (1944) · Darryl F. Zanuck (1945) · Samuel Goldwyn (1947) ·Jerry Wald (1949) · Darryl F. Zanuck (1951) · Arthur Freed (1952) · Cecil B. DeMille (1953) ·George Stevens (1954) · Buddy Adler (1957) · Jack L. Warner (1959) · Stanley Kramer (1962) ·Sam Spiegel (1964) · William Wyler (1966) · Robert Wise (1967) · Alfred Hitchcock (1968) ·Ingmar Bergman (1971) · Lawrence Weingarten (1974) · Mervyn LeRoy (1976) ·Pandro S. Berman (1977) · Walter Mirisch (1978) · Ray Stark (1980) · Albert R. Broccoli (1982) ·Steven Spielberg (1986) · Billy Wilder (1988) · David Brown and Richard D. Zanuck (1991) ·George Lucas (1992) · Clint Eastwood (1995) · Saul Zaentz (1997) · Norman Jewison (1999) ·Warren Beatty (2000) · Dino De Laurentiis (2001) · John Calley (2009)

Retrieved from "http://en.wikipedia.org/wiki/Alfred_Hitchcock"Categories: 19th-century English people | 1899 births | 1980 deaths | American film directors | American film producers| American people of English descent | American Roman Catholics | American television directors | Deaths from renalfailure | English film directors | English film producers | English immigrants to the United States | English people of Irishdescent | English television directors | English-language film directors | Knights Commander of the Order of the BritishEmpire | Naturalized citizens of the United States | Old Ignatians | People from Leytonstone

This page was last modified on 3 September 2010 at 00:42.Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. SeeTerms of Use for details.Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

Privacy policyAbout WikipediaDisclaimers


24 of 24 9/4/2010 2:05 PM
