From To Catch a Thief to Vertigo

In 1955 Hitchcock became a United States citizen.^[82] The same year, his third Grace Kelly film, To Catch a Thief, was released; it is set in the French Riviera, and pairs Kelly with Cary Grant. Grant plays retired thief John Robie, who becomes the prime suspect for a spate of robberies in the Riviera. A thrill-seeking American heiress played by Kelly surmises his true identity and tries to seduce him. "Despite the obvious age disparity between Grant and Kelly and a lightweight plot, the witty script (loaded with double entendres) and the good-natured acting proved a commercial success."^[83] It was Hitchcock's last film with Kelly. She married Prince Rainier of Monaco in 1956, and ended her film career. Hitchcock then remade his own 1934 film The Man Who Knew Too Much in 1956. This time, the film starred James Stewart and Doris Day, who sang the theme song "Que Sera, Sera", 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 Albert Hall, London.^[84]

Hitchcock's next film, Vertigo (1958) again starred James Stewart, this time with Kim Novak and Barbara Bel Geddes. He had wanted Vera Miles to play the lead, but she was pregnant. He told Oriana Fallaci: "I was offering her a big part, the chance to become a beautiful sophisticated blonde, a real actress. We'd have spent a heap of dollars on it, and she has the bad taste to get pregnant. I hate pregnant women, because then they have children."{{sfn|Fallaci|1963}}

In the film, James Stewart plays Scottie, a former police investigator suffering from acrophobia, who develops an obsession with a woman he has been hired to shadow (Kim Novak). Scottie's obsession leads to tragedy, and this time Hitchcock does not opt for a happy ending. Some critics, including Donald Spoto and Roger Ebert, agree that Vertigo is the director's most personal and revealing film, dealing with the Pygmalion-like obsessions of a man who crafts a woman into the woman he desires. Vertigo explores more frankly and at greater length his interest in the relation between sex and death than any other work in his filmography.^[88]

North by Northwest and Psycho

Hitchcock followed Vertigo with three more successful films, which are also recognised as among his best: 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. He is hotly pursued across the United States by enemy agents, including (it appears) Eve Kendall (Eva Marie Saint). Thornhill at first believes Kendall is helping him, then that she is an enemy agent; he eventually learns that she is working undercover for the CIA. During its opening two-week run at Radio City Music Hall, the film grossed $404,056 ({{Inflation|US|404,056|1959|fmt=eq}}), setting a record in that theatre's non-holiday gross.^[91] Time magazine called the film "smoothly troweled and thoroughly entertaining".^[92]

Psycho (1960) is arguably Hitchcock's best-known film.^[93] Based on Robert Bloch's novel Psycho (1959), which was inspired by the case of Ed Gein,^[94] the film was produced on a constrained budget of $800,000 ({{Inflation|US|800,000|1960|fmt=eq}}) and shot in black-and-white on a spare set using crew members from Alfred Hitchcock Presents.^[95] The unprecedented violence of the shower scene,{{efn|A documentary on Psycho{{'}}s shower scene, 78/52, was released in 2017, directed by Alexandre O. Philippe; the title refers to the scene's 78 camera setups and 52 cuts.^[96]}} the early death of the heroine, and the innocent lives extinguished by a disturbed murderer became the hallmarks of a new horror-film genre.^[97] The public loved the film, with lines stretching outside cinemas as people had to wait for the next showing. It broke box-office records in the United Kingdom, France, South America, the United States and Canada and was a moderate success in Australia for a brief period.^[98]{{page needed|date=December 2017}}

The film was the most profitable of Hitchcock's career; he personally earned well in excess of $15 million (equivalent to ${{Inflation|US|15|1960|r=2}} million in {{Inflation-year|US}}). He subsequently swapped his rights to Psycho and his TV anthology for 150,000 shares of MCA, making him the third largest shareholder and his own boss at Universal, in theory at least, although that did not stop them from interfering with him.^[98]{{page needed|date=January 2018}}^[71]{{page needed|date=January 2018}} Following the first film, Psycho became an American horror franchise: Psycho II, Psycho III, Bates Motel, The Beginning, and a colour 1998 remake of the original.{{sfn|Verevis|2006|p=22}}

Truffaut interview

On 13 August 1962, Hitchcock's 63rd birthday, the French director François Truffaut began a 50-hour interview of Hitchcock, filmed over eight days at Universal Studios, during which Hitchcock agreed to answer 500 questions. It took four years to transcribe the tapes and organize the images; it was published as a book in 1967 (the "hitchbook", as Truffaut called it), and the footage was released as a documentary in 2015.{{sfn|Truffaut|1983|p=12}}^[99] Truffaut sought the interview because it was clear to him that Hitchcock was not simply the entertainer the American media made him out to be. It was obvious from his films, Truffaut wrote, that Hitchcock had "given more thought to the potential of his art than any of his colleagues". He compared the interview to "Oedipus' consultation of the oracle".{{sfn|Truffaut|1983|pp=11–12}}

The Birds

{{further|The Girl (2012 TV film)|Tippi Hedren#Troubled relations}}

The film scholar Peter William Evans writes that The Birds (1963) and Marnie (1964) are regarded as "undisputed masterpieces".{{sfn|Evans|2017}} Hitchcock had intended to film Marnie first, and in March 1962 it was announced that Grace Kelly, Princess Grace of Monaco since 1956, would come out of retirement to star in it.^[100] When Kelly asked Hitchcock to postpone Marnie until 1963 or 1964, he recruited Evan Hunter, author of The Blackboard Jungle (1954), to develop a screenplay based on a Daphne du Maurier short story, "The Birds" (1952), which Hitchcock had republished in his My Favorites in Suspense (1959). He hired Tippi Hedren to play the lead role.^[101] It was her first role; she had been a model in New York when Hitchcock saw her, in October 1961, in an NBC television ad for Sego, a diet drink:{{sfn|Moral|2013|p=15}} "I signed her because she is a classic beauty. Movies don't have them any more. Grace Kelly was the last." He insisted, without explanation, that her first name be written in single quotation marks: 'Tippi'.{{efn|Thomas McDonald (The New York Times, 1 April 1962): "Starring in the film are Rod Taylor, Suzanne Pleshette, Jessica Tandy and 'Tippi' Hedren. Hitchcock signed Miss Hedren, a New York model, to a contract after having seen her in a television commercial. He insisted that she enclose her first name in single quotation marks, but would not explain why."^[102]{{sfn|Spoto|2008|p=245}}}}

In The Birds, Melanie Daniels, a young socialite, meets lawyer Mitch Brenner (Rod Taylor) in a bird shop; Jessica Tandy plays his possessive mother. Hedren visits him in Bodega Bay (where The Birds was filmed)^[102] carrying a pair of lovebirds as a gift. Suddenly waves of birds start gathering, watching, and attacking. The question: "What do the birds want?" is left unanswered.{{sfn|Rothman|2014|p=203}} Hitchcock made the film with equipment from the Revue Studio, which made Alfred Hitchcock Presents. He said it was his most technically challenging film yet, using a combination of trained and mechanical birds against a backdrop of wild ones. Every shot was sketched in advance.^[102]

An HBO/BBC television film, The Girl (2012), depicted Hedren's experiences on set; she said that Hitchcock became obsessed with her and sexually harassed her. He reportedly isolated her from the rest of the crew, had her followed, whispered obscenities to her, had her handwriting analysed, and had a ramp built from his private office directly into her trailer.^[103][104] Diane Baker, her co-star in Marnie, said: "[N]othing could have been more horrible for me than to arrive on that movie set and to see her being treated the way she was."{{sfn|Spoto|2008|p=265}} While filming the attack scene in the attic—which took a week to film—she was placed in a caged room while two men wearing elbow-length protective gloves threw live birds at her. Toward the end of the week, to stop the birds flying away from her too soon, one leg of each bird was attached by nylon thread to elastic bands sewn inside her clothes. She broke down after a bird cut her lower eyelid, and filming was halted on doctor's orders.{{sfn|Spoto|1999|pp=457–459}}

Marnie

In June 1962, Grace Kelly announced that she had decided against appearing in Marnie (1964). Hedren had signed an exclusive seven-year, $500-a-week contract with him in October 1961,^[105] and he decided to cast her in the lead role opposite Sean Connery. In 2016, describing Hedren's performance as "one of the greatest in the history of cinema", Richard Brody called the film a "story of sexual violence" inflicted on the character played by Hedren: "The film is, to put it simply, sick, and it's so because Hitchcock was sick. He suffered all his life from furious sexual desire, suffered from the lack of its gratification, suffered from the inability to transform fantasy into reality, and then went ahead and did so virtually, by way of his art."^[106] A 1964 New York Times film review called it Hitchcock's "most disappointing film in years", citing Hedren's and Connery's lack of experience, an amateurish script and "glaringly fake cardboard backdrops".^[107]

In the film, Marnie Edgar (Hedren) steals $10,000 ({{Inflation|US|10,000|1964|fmt=eq}}) from her employer and goes on the run. She applies for a job at Mark Rutland's (Connery) company in Philadelphia and steals from there too. Earlier she is shown having a panic attack during a thunderstorm and fearing the colour red. Mark tracks her down and blackmails her into marrying him. She explains that she does not want to be touched, but during the "honeymoon", Mark rapes her. Marnie and Mark discover that Marnie's mother had been a prostitute when Marnie was a child, and that, while the mother was fighting with a client during a thunderstorm—the mother believed the client had tried to molest Marnie—Marnie had killed the client to save her mother. Cured of her fears when she remembers what happened, she decides to stay with Mark.^[106][108]

No longer speaking to her because she had rebuffed him, Hitchcock apparently referred to Hedren throughout as "the girl" rather than by name. He told Robert Burks, the cinematographer, that the camera had to be placed as close as possible to Hedren when he filmed her face.{{sfn|Spoto|1999|p=471}} Evan Hunter, the screenwriter of The Birds who was writing Marnie too, explained to Hitchcock that, if Mark loved Marnie, he would comfort her, not rape her. Hitchcock reportedly replied: "Evan, when he sticks it in her, I want that camera right on her face!"^[109] When Hunter submitted two versions of the script, one without the rape scene, Hitchcock replaced him with Jay Presson Allen.{{sfn|Moral|2013|pp=38–39}}

Later years: 1966–1980

Final films

Failing health reduced Hitchcock's output during the last two decades of his life. Biographer Stephen Rebello claimed Universal "forced" two movies on him, Torn Curtain (1966) and Topaz (1969).^[71]{{page needed|date=December 2017}}^[98]{{page needed|date=December 2017}} Both were spy thrillers with Cold War-related themes. Torn Curtain, with Paul Newman and Julie Andrews, precipitated the bitter end of the 12-year collaboration between Hitchcock and composer Bernard Herrmann.^[110] Hitchcock was unhappy with Herrmann's score and replaced him with John Addison, Jay Livingston and Ray Evans.{{sfn|Smith|2002|pp=273–274}} Topaz (1967), based on a Leon Uris novel, is partly set in Cuba. Both films received mixed reviews.^[111]{{failed verification|date=December 2017}}

Hitchcock returned to Britain to make his penultimate film, Frenzy (1972), based on the novel Goodbye Piccadilly, Farewell Leicester Square (1966). After two espionage films, the plot marked a return to the murder-thriller genre. Richard Blaney (Jon Finch), a volatile barman with a history of explosive anger, becomes the prime suspect in the investigation into the "Necktie Murders", which are actually committed by his friend Bob Rusk (Barry Foster). This time, Hitchcock makes the victim and villain kindreds, rather than opposites as in Strangers on a Train.^[112]

In Frenzy, Hitchcock allowed nudity for the first time. Two scenes show naked women, one of whom is being raped and strangled;{{sfn|Evans|2017}} Spoto called the latter "one of the most repellent examples of a detailed murder in the history of film". Both actors, Barbara Leigh-Hunt and Anna Massey, refused to do the scenes, so models were used instead.{{sfn|Spoto|1999|pp=513–514}} Biographers have noted that Hitchcock had always pushed the limits of film censorship, often managing to fool Joseph Breen, the longtime head of Hollywood's Motion Picture Production Code. Many times Hitchcock slipped in subtle hints of improprieties forbidden by censorship until the mid-1960s. Yet McGilligan wrote that Breen and others often realised that Hitchcock was inserting such things and were actually amused, as well as alarmed by Hitchcock's "inescapable inferences".^[113]

Family Plot (1976) was Hitchcock's last film. It relates the escapades of "Madam" Blanche Tyler, played by Barbara Harris, a fraudulent spiritualist, and her taxi-driver lover Bruce Dern, making a living from her phony powers. While Family Plot was based on the Victor Canning novel The Rainbird Pattern (1972), the novel's tone is more sinister. Screenwriter Ernest Lehman originally wrote the film with a dark tone but was pushed to a lighter, more comical tone by Hitchcock.{{citation needed|date=December 2017}}

Knighthood and death

Having refused a CBE in 1962,^[115] Hitchcock was appointed a Knight Commander of the Most Excellent Order of the British Empire (KBE) in the 1980 New Year Honours.^[116][117] He was too ill to travel to London—he had a pacemaker and was being given cortisone injections for his arthritis—so on 3 January 1980 the British consul general presented him with the papers at Universal Studios. Asked by a reporter after the ceremony why it had taken the Queen so long, Hitchcock quipped, "I suppose it was a matter of carelessness." Cary Grant, Janet Leigh, and others attended a luncheon afterwards.^[118][119]

Filmmaking

Themes and motifs

Hitchcock returned several times to cinematic devices such as the audience as voyeur,^[124] suspense, the wrong man or woman, and the "MacGuffin," a plot device essential to the characters but irrelevant to the audience.{{citation needed|date=December 2017}} Thus, the MacGuffin was always hazily described (in North by Northwest, Leo G. Carroll describes James Mason as an "importer-exporter").

Hitchcock appears briefly in most of his own films. For example, he is seen struggling to get a double bass onto a train (Strangers on a Train), walking dogs out of a pet shop (The Birds), fixing a neighbour's clock (Rear Window), as a shadow (Family Plot), sitting at a table in a photograph (Dial M for Murder), and riding a bus (North by Northwest).{{sfn|Walker|2005|p=88}}

Representation of women

Hitchcock's portrayal of women has been the subject of much scholarly debate. Bidisha wrote in The Guardian in 2010: "There's the vamp, the tramp, the snitch, the witch, the slink, the double-crosser and, best of all, the demon mommy. Don't worry, they all get punished in the end."^[125] In a widely cited essay in 1975, Laura Mulvey introduced the idea of the male gaze; the view of the spectator in Hitchcock's films, she argued, is that of the heterosexual male protagonist.{{sfn|Mulvey|1989}} "The female characters in his films reflected the same qualities over and over again", Roger Ebert wrote in 1996. "They were blonde. They were icy and remote. They were imprisoned in costumes that subtly combined fashion with fetishism. They mesmerised the men, who often had physical or psychological handicaps. Sooner or later, every Hitchcock woman was humiliated."^[126]{{efn|In 1967 Hitchcock told Truffaut: "I think the most interesting women, sexually, are the English women. I feel that the English women, the Swedes, the northern Germans, and Scandinavians are a great deal more exciting than the Latin, the Italian, and the French women. Sex should not be advertised. An English girl, looking like a schoolteacher, is apt to get into a cab with you and, to your surprise, she'll probably pull a man's pants open. ... [W]ithout the element of surprise the scenes become meaningless. There's no possibility to discover sex.{{sfn|Truffaut|1983|p=224}}}}

The victims in The Lodger are all blondes. In The 39 Steps (1935), Madeleine Carroll is put in handcuffs. Ingrid Bergman, whom Hitchcock directed three times (Spellbound (1945), Notorious (1946), and Under Capricorn (1949)), is dark blonde. In Rear Window (1954), Lisa (Grace Kelly) risks her life by breaking into Lars Thorwald's apartment. In To Catch a Thief (1955), Francie (Grace Kelly again) offers to help a man she believes is a burglar. In Vertigo (1958) and North by Northwest (1959) respectively, Kim Novak and Eva Marie Saint play the blonde heroines. In Psycho (1960), Janet Leigh's character steals $40,000 ({{Inflation|US|40,000|1960|fmt=eq}}) and is murdered by Norman Bates, a reclusive psychopath. Tippi Hedren, a blonde, appears to be the focus of the attacks in The Birds (1963). In Marnie (1964), the title character, again played by Hedren, is a thief. In Topaz, French actresses Dany Robin as Stafford's wife and Claude Jade as Stafford's daughter are blonde heroines, the mistress was played by brunette Karin Dor. Hitchcock's last blonde heroine was Barbara Harris as a phony psychic turned amateur sleuth in Family Plot (1976), his final film. In the same film, the diamond smuggler played by Karen Black wears a long blonde wig in several scenes.

His films often feature characters struggling in their relationships with their mothers, such as Norman Bates in Psycho. In North by Northwest (1959), Roger Thornhill (Cary Grant) is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him. In The Birds (1963), the Rod Taylor character, an innocent man, finds his world under attack by vicious birds, and struggles to free himself from a clinging mother (Jessica Tandy). The killer in Frenzy (1972) has a loathing of women but idolises his mother. The villain Bruno in Strangers on a Train hates his father, but has an incredibly close relationship with his mother (played by Marion Lorne). Sebastian (Claude Rains) in Notorious has a clearly conflicting relationship with his mother, who is (rightly) suspicious of his new bride, Alicia Huberman (Ingrid Bergman).^[127]

Relationship with actors

Hitchcock became known for having remarked that "actors are cattle."{{sfn|Truffaut|1983|p=140}}{{efn|Hitchcock told Fallaci in 1963: "When they [actors] aren't cows, they're children: that's something else I've often said. And everyone knows that there are good children, bad children, and stupid children. The majority of actors, though, are stupid children. They're always quarreling, and they give themselves a lot of airs. The less I see of them, the happier I am. I had much less trouble directing fifteen hundred crows than one single actor. I've always said that Walt Disney has the right idea. His actors are made of paper; when he doesn't like them, he can tear them up."{{sfn|Fallaci|1963}}}} During the filming of Mr. & Mrs. Smith (1941), Carole Lombard brought three cows onto the set wearing the name tags of Lombard, Robert Montgomery, and Gene Raymond, the stars of the film, to surprise him.{{sfn|Truffaut|1983|p=140}}

Hitchcock believed that actors should concentrate on their performances and leave work on script and character to the directors and screenwriters. He told Bryan Forbes in 1967: "I remember discussing with a method actor how he was taught and so forth. He said, 'We're taught using improvisation. We are given an idea and then we are turned loose to develop in any way we want to.' I said 'That's not acting. That's writing.'"^[128] Walter Slezak said that Hitchcock knew the mechanics of acting better than anyone he knew.^[129]{{Full citation needed|date=December 2017}}

Critics observed that, despite his reputation as a man who disliked actors, actors who worked with him often gave brilliant performances. He used the same actors in many of his films; Cary Grant worked with Hitchcock four times,^[130] and Ingrid Bergman three. James Mason said that Hitchcock regarded actors as "animated props".^[131] For Hitchcock, the actors were part of the film's setting. He told François Truffaut: "The chief requisite for an actor is the ability to do nothing well, which is by no means as easy as it sounds. He should be willing to be utilised and wholly integrated into the picture by the director and the camera. He must allow the camera to determine the proper emphasis and the most effective dramatic highlights."^[132]

Writing, storyboards and production

Hitchcock planned his scripts in detail with his writers. In Writing with Hitchcock (2001), Steven DeRosa noted that Hitchcock supervised them through every draft, asking that they tell the story visually.^[133] He told Roger Ebert in 1969:

Hitchcock's films were extensively storyboarded to the finest detail. He was reported to have never even bothered looking through the viewfinder, since he did not need to, although in publicity photos he was shown doing so. He also used this as an excuse to never have to change his films from his initial vision. If a studio asked him to change a film, he would claim that it was already shot in a single way, and that there were no alternative takes to consider.{{citation needed|date=December 2017}}

This view of Hitchcock as a director who relied more on pre-production than on the actual production itself has been challenged by Bill Krohn, the American correspondent of French film magazine Cahiers du cinéma, in his book Hitchcock at Work. After investigating script revisions, notes to other production personnel written by or to Hitchcock, and other production material, Krohn observed that Hitchcock's work often deviated from how the screenplay was written or how the film was originally envisioned.^[135] He noted that the myth of storyboards in relation to Hitchcock, often regurgitated by generations of commentators on his films, was to a great degree perpetuated by Hitchcock himself or the publicity arm of the studios. For example, the celebrated crop-spraying sequence of North by Northwest was not storyboarded at all. After the scene was filmed, the publicity department asked Hitchcock to make storyboards to promote the film, and Hitchcock in turn hired an artist to match the scenes in detail.^[136]{{verify source|date=December 2017}}

Even when storyboards were made, scenes that were shot differed from them significantly. Krohn's analysis of the production of Hitchcock classics like Notorious reveals that Hitchcock was flexible enough to change a film's conception during its production. Another example Krohn notes is the American remake of The Man Who Knew Too Much, whose shooting schedule commenced without a finished script and moreover went over schedule, something that, as Krohn notes, was not an uncommon occurrence on many of Hitchcock's films, including Strangers on a Train and Topaz. While Hitchcock did do a great deal of preparation for all his films, he was fully cognisant that the actual film-making process often deviated from the best-laid plans and was flexible to adapt to the changes and needs of production as his films were not free from the normal hassles faced and common routines utilised during many other film productions.^[136]{{verify source|date=December 2017}}

Krohn's work also sheds light on Hitchcock's practice of generally shooting in chronological order, which he notes sent many films over budget and over schedule and, more importantly, differed from the standard operating procedure of Hollywood in the Studio System Era. Equally important is Hitchcock's tendency to shoot alternative takes of scenes. This differed from coverage in that the films were not necessarily shot from varying angles so as to give the editor options to shape the film how he/she chooses (often under the producer's aegis).^[137]{{Failed verification|date=December 2017}} Rather they represented Hitchcock's tendency to give himself options in the editing room, where he would provide advice to his editors after viewing a rough cut of the work. According to Krohn, this and a great deal of other information revealed through his research of Hitchcock's personal papers, script revisions and the like refute the notion of Hitchcock as a director who was always in control of 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. Both his fastidiousness and attention to detail also found their way into each film poster for his films. Hitchcock preferred to work with the best talent of his day—film poster designers such as Bill Gold^[138] and Saul Bass—who would produce posters that accurately represented his films.^[136]{{verify source|date=December 2017}}

Legacy

Awards and honours

Hitchcock was inducted into the Hollywood Walk of Fame on 8 February 1960 with two stars: one for television and a second for his motion pictures.^[139] In 1978 John Russell Taylor described him as "the most universally recognizable person in the world" and "a straightforward middle-class Englishman who just happened to be an artistic genius".^[119] In 2002 MovieMaker named him the most influential director of all time,^[140] and a 2007 The Daily Telegraph critics' poll ranked him Britain's greatest director. David Gritten, the newspaper's film critic, wrote: "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern 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."^[141]

He won two Golden Globes, eight Laurel Awards, and five lifetime achievement awards, including the first BAFTA Academy Fellowship Award^[142] and, in 1979, an AFI Life Achievement Award.^[116] He was nominated five times for an Academy Award for Best Director. Rebecca, nominated for 11 Oscars, won the Academy Award for Best Picture of 1940; another Hitchcock film, Foreign Correspondent, was also nominated that year.^[143] By 2018 eight of his films had been selected for preservation by the US National Film Registry: Rebecca (1940), Shadow of a Doubt (1943), Notorious (1946), Rear Window (1954), Vertigo (1958), North by Northwest (1959), Psycho (1960), and The Birds (1963).^[3]

In 2012 Hitchcock was selected by artist Sir Peter Blake, author of the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover, to appear in a new version of the cover, along with other British cultural figures, and he was featured that year in a BBC Radio 4 series, The New Elizabethans, as someone "whose actions during the reign of Elizabeth II have had a significant impact on lives in these islands and given the age its character".^[144] In June 2013 nine restored versions of Hitchcock's early silent films, including The Pleasure Garden (1925), were shown at the Brooklyn Academy of Music's Harvey Theatre; known as "The Hitchcock 9", the travelling tribute was organised by the British Film Institute.^[145]

Archives

The Alfred Hitchcock Collection is housed at the Academy Film Archive in Hollywood, California. It includes home movies, 16 mm film shot on the set of Blackmail (1929) and Frenzy (1972), and the earliest known colour footage of Hitchcock. The Academy Film Archive preserves many of his home movies. The Alfred Hitchcock Papers is housed at the Academy's Margaret Herrick Library.^[146] The David O. Selznick and the Ernest Lehman collections housed at the Harry Ransom Humanities Research Center in Austin, Texas, contain material related to Hitchcock's work on the production of The Paradine Case, Rebecca, Spellbound, North by Northwest and Family Plot.^[147]

Hitchcock portrayals

• Anthony Hopkins in Hitchcock (2012)
• Toby Jones in The Girl (2012)
• Roger Ashton-Griffiths in Grace of Monaco (2014)

Filmography

Films

• Number 13 (1922, unfinished)
• Always Tell Your Wife (1923, short)
• The Pleasure Garden (1925)
• The Mountain Eagle (1926, lost)
• 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)
• Juno and the Paycock (1930)
• Murder! (1930)
• Elstree Calling (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)
• Rebecca (1940)
• Foreign Correspondent (1940)
• Mr. & Mrs. Smith (1941)
• Suspicion (1941)
• Saboteur (1942)
• Shadow of a Doubt (1943)
• Lifeboat (1944)
• Aventure Malgache (1944, short)
• Bon Voyage (1944, short)
• Spellbound (1945)
• Notorious (1946)
• The Paradine Case (1947)
• Rope (1948)
• Under Capricorn (1949)
• Stage 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)
• Psycho (1960)
• The Birds (1963)
• Marnie (1964)
• Torn Curtain (1966)
• Topaz (1969)
• Frenzy (1972)
• Family Plot (1976)

Frequently cast actors

• Clare Greet: Number 13 (1922), The Ring (1927), The Manxman (1929), Murder! (1930), The Man Who Knew Too Much (1934), Sabotage (1936), Jamaica Inn (1939)

• Leo G. Carroll: Rebecca (1940), Suspicion (1941), Spellbound (1945), The Paradine Case (1947), Strangers on a Train (1951), North By Northwest (1959)
• John Longden: Blackmail (1929), Juno and the Paycock (1930), Elstree Calling (1930), The Skin Game (1931), Young and Innocent (1937), Jamaica Inn (1939)

• Donald Calthrop: Blackmail (1929), Juno and the Paycock (1930), Elstree Calling (1930), Murder! (1930), Number Seventeen (1932)

• Cary Grant: Suspicion (1941), Notorious (1946), To Catch a Thief (1955), North By Northwest (1959)
• Edmund Gwenn: The Skin Game (1931), Waltzes from Vienna (1934), Foreign Correspondent (1940), The Trouble with Harry (1955)
• Gordon Harker: The Ring (1927), The Farmer's Wife (1928), Champagne (1928), Elstree Calling (1930)
• Phyllis Konstam: Champagne (1928), Blackmail (1929), Murder! (1930), The Skin Game (1931)
• James Stewart: Rope (1948), Rear Window (1954), The Man Who Knew Too Much (1956), Vertigo (1958)

• Ingrid Bergman: Spellbound (1945), Notorious (1946), Under Capricorn (1949)
• Violet Farebrother: Downhill (1927), Easy Virtue (1928), Murder! (1930)
• Charles Halton: Foreign Correspondent (1940), Mr. & Mrs. Smith (1941), Saboteur (1942)
• Pat Hitchcock: Stage Fright (1950), Strangers on a Train (1951), Psycho (1960)
• Ian Hunter: The Ring (1927), Downhill (1927), Easy Virtue (1928)
• Isabel Jeans: Downhill (1927), Easy Virtue (1928), Suspicion (1941)
• Malcolm Keen: The Mountain Eagle (1926), The Lodger (1927), The Manxman (1929)
• Grace Kelly: Dial M for Murder (1954), Rear Window (1954), To Catch a Thief (1955)
• Basil Radford: Young and Innocent (1937), The Lady Vanishes (1938), Jamaica Inn (1939)
• John Williams: The Paradine Case (1947), Dial M for Murder (1954), To Catch a Thief (1955)

• Marie Ault: The Lodger (1927), Jamaica Inn (1939)
• Carl Brisson: The Ring (1927), The Manxman (1929)
• Joseph Cotten: Shadow of a Doubt (1943), Under Capricorn (1949)
• Hume Cronyn: Shadow of a Doubt (1943), Lifeboat (1944)
• Robert Cummings: Saboteur (1942), Dial M for Murder (1954)
• Joan Fontaine: Rebecca (1940), Suspicion (1941)
• Farley Granger: Rope (1948), Strangers on a Train (1951)
• Lillian Hall-Davis: The Ring (1927), The Farmer's Wife (1928)
• Tippi Hedren: The Birds (1963), Marnie (1964)
• Robin Irvine: Downhill (1927), Easy Virtue (1928)
• John Laurie: Juno and the Paycock (1930), The 39 Steps (1935)
• Ivor Novello: The Lodger (1927), Downhill (1927)
• Anny Ondra: The Manxman (1929), Blackmail (1929)
• Gregory Peck: Spellbound (1945), The Paradine Case (1947)
• Harry Terry: The Ring (1927), The Manxman (1929)

Many of the British actors additionally appeared in some of the two dozen or so films Hitchcock worked on in other capacities, such as co-writer, title designer, art director and assistant director.

See also

• {{Portal inline|size=tiny|Alfred Hitchcock}}
• List of Alfred Hitchcock cameo appearances
• List of film director and actor collaborations
• List of unproduced Hitchcock projects

Notes and sources

Notes

References

Works cited

• {{cite book|last=Truffaut|first=François|author-link=François Truffaut|title=Hitchcock/Truffaut|edition=Revised|publisher=Simon & Schuster|location=New York|year=1983|isbn=978-0-671-52601-6|ref=harv|origyear=1967|title-link=Hitchcock/Truffaut}}
• {{cite book|last1=Taylor|first1=John Russell|author-link=John Russell Taylor|title=Hitch: The Life and Times of Alfred Hitchcock|date=1996|orig-year=1978|publisher=Da Capo Press|location=New York|ref=harv}}
• {{cite book|last=Spoto|first=Donald|author-link=Donald Spoto|title=The Dark Side of Genius: The Life of Alfred Hitchcock|location=New York|publisher=Da Capo Press|year=1999|orig-year=1983|ref=harv|isbn=978-0-306-80932-3}}
• {{cite book|last=Freeman|first=David|title=The Last Days of Alfred Hitchcock|year=1999|publisher=Overlook|isbn=978-0-87951-728-1|ref=harv}}
• {{cite book|last=Adair|first=Gene|title=Alfred Hitchcock: Filming Our Fears|publisher= Oxford University Press|location=New York|year= 2002|isbn=978-0-19-511967-1|ref=harv}}
• {{cite book|last=Duncan|first=Paul|title=Alfred Hitchcock: Architect of Anxiety, 1899–1980|year=2003|publisher=Taschen|isbn= 978-3-8228-1591-5|ref=harv}}
• {{cite book|last=McGilligan|first= Patrick|author-link=Patrick McGilligan (biographer)|title=Alfred Hitchcock: A Life in Darkness and Light|publisher=Regan Books|location=New York|year=2003|isbn=978-0-06-039322-9|ref=harv}}
• {{cite book|last1=Spoto|first1=Donald|author-link=Donald Spoto|title=Spellbound by Beauty: Alfred Hitchcock and his Leading Ladies|date=2008|publisher=Harmony Books|location=New York|ref=harv}}
• {{cite book|last=Ackroyd|first=Peter|author-link=Peter Ackroyd|title=Alfred Hitchcock|date=2015|publisher=Random House|ref=harv|isbn= 978-0-7011-6993-0}}

• {{cite book|last=Allen|first=Richard|last2=Ishii-Gonzalès|first2= S.|title=Hitchcock: Past and Future|ref=harv|publisher=Routledge |year=2004|isbn=978-0-415-27525-5}}
• {{cite book|last=Bellour|first=Raymond|authorlink=Raymond Bellour|last2=Penley|first2= Constance|year=2000|title=The Analysis of Film|ref=harv|publisher= Indiana University Press|isbn=978-0-253-21364-8}}
• {{cite book|last=Brown|first=Royal S.|year=1994|title=Overtones and Undertones: Reading Film Music|ref=harv|publisher= University of California Press|isbn=978-0-520-91477-3}}
• {{cite book|first=Mitzi M.|last=Brunsdale|title= Icons of Mystery and Crime Detection: From Sleuths to Superheroes|date=2010|publisher=ABC-CLIO|ref=harv}}
• {{cite book|last=DeRosa|first=Steven|title= Writing with Hitchcock|location=New York|publisher=Faber and Faber|year= 2001|ref=harv|isbn= 978-0-571-19990-7}}
• {{cite journal|last1=Evans|first1=Peter William|title=Hitchcock, Alfred Joseph|journal=Oxford Dictionary of National Biography|doi=10.1093/ref:odnb/31239|url=http://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-31239|accessdate=31 December 2017|ref={{sfnref|Evans|2017}}|year=2004}}
• {{cite book|last1=Fallaci|first1=Oriana|author-link=Oriana Fallaci|title=The Egotists: Sixteen Surprising Interviews|chapter-url=http://scrapsfromtheloft.com/2016/06/14/fallaci-hitchcock-interview/|publisher=Henry Regnery|location=Chicago|date=1963|chapter=Mr. Chastity|pp=239–256|ref=harv}}
• {{cite book|last1=Garncarz|first1=Joseph|editor1-last=Gottlieb|editor1-first=Sidney|editor2-last=Brookhouse|editor2-first=Christopher|title=Framing Hitchcock: Selected Essays from the Hitchcock Annual|date=2002|publisher=Wayne State University Press|location=Detroit|pages=59–81|chapter=German Hitchcock|ref=harv}}
• {{cite book|last1=Gottlieb|first1=Sydney|editor1-last=Gottlieb|editor1-first=Sidney|editor2-last=Brookhouse|editor2-first=Christopher|title=Framing Hitchcock: Selected Essays from the Hitchcock Annual|date=2002|publisher=Wayne State University Press|location=Detroit|pages=35–58|chapter=Early Hitchcock: The German Influence|ref=harv}}
• {{cite book|last=Gottlieb|first=Sidney|year=2003|title=Alfred Hitchcock: Interviews|ref=harv|publisher= University Press of Mississippi|isbn= 978-1-57806-562-2}}
• {{cite book|last= Harris|first=Robert A.|last2= Lasky|first2= Michael S.|title=The Complete Films of Alfred Hitchcock|ref=harv|location=Secaucus, N.J|publisher=Citadel Press|orig-year=1976|year=2002|isbn=}}
• {{cite book|last=Hitchcock|first=Alfred|editor-last=Gottlieb|editor-first= Sidney|title=Hitchcock on Hitchcock, Volume 2: Selected Writings and Interviews|ref=harv|publisher= University of California Press|location=Oakland|year=2014|isbn=978-0-520-96039-8}}
• {{cite book|last=Hitchcock|first=Patricia|author-link=Patricia Hitchcock|last2=Bouzereau|first2= Laurent |title=Alma Hitchcock: The Woman Behind the Man|publisher=Berkley Books|location=New York|year=2003|isbn=978-0-425-19005-0|ref=harv}}
• {{cite book|last=Humphries|first=Patrick|year=1994|title=The Films of Alfred Hitchcock|ref=harv|publisher=Crescent Books|edition=reprint|isbn=978-0-517-10292-3}}
• {{cite book |last=Kaganski |first=Serge |title=Alfred Hitchcock |year=1997 |publisher=Hazan |location=Paris |ref=harv}}
• {{cite book|last=Kapsis|first=Robert E.|title=Hitchcock: The Making of a Reputation|edition=illustrated|publisher=University of Chicago Press|year= 1992|ref=harv}}
• {{cite book|last=Kehr|first=Dave|title=When Movies Mattered: Reviews from a Transformative Decade|year=2011|publisher=University of Chicago Press|isbn=978-0-226-42940-3|ref=harv|url=https://books.google.com/books?id=ZGgPCODtVZsC&printsec=frontcover}}
• {{cite book|last1=Kerzoncuf|first1=Alain|last2=Barr|first2=Charles|title=Hitchcock Lost and Found: The Forgotten Films|date=2015|publisher=University Press of Kentucky|location=Lexington|ref=harv}}
• {{cite book|last=Krohn |first=Bill |title=Hitchcock at Work |publisher= Phaidon |year=2000|isbn= 978-0-7148-3953-0|ref=harv}}
• {{cite book|last=Leff|first=Leonard J.|title=Hitchcock and Selznick|isbn=978-0-520-21781-2|year=1987|publisher=University of California Press|ref=harv}}
• {{cite book|last=Leff|first=Leonard|title=The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood|publisher=University of California Press|year=1999|isbn=978-0-520-21781-2|ref=harv}}
• {{cite book|last=Leigh|first= Janet|author-link=Janet Leigh|first2= Christopher|last2=Nickens|title=Psycho: Behind the Scenes of the Classic Thriller|publisher= Harmony Press|year= 1995|isbn=978-0-517-70112-6|ref=harv}}
• {{cite book|last=Leitch|first=Thomas|title=The Encyclopedia of Alfred Hitchcock|publisher=Checkmark Books|year=2002|isbn=978-0-8160-4387-3|ref=harv}}
• {{cite book|last1=MacDonald|first1=Erin E.|title=Ed McBain/Evan Hunter: A Literary Companion|date=2012|publisher=McFarland|location=Jefferson|ref=harv}}
• {{cite book|last1=Moral|first1=Tony Lee|title=Hitchcock and the Making of Marnie|date=2013|publisher=Scarecrow Press|location=Lanham|ref=harv}}
• {{cite book|last1=Mulvey|first1=Laura|authorlink=Laura Mulvey|editor1-last=Mulvey|editor1-first=Laura|title=Visual and Other Pleasures|date=1989|orig-year=1975|publisher=Indiana University Press|location=Bloomington|pages=14–24|chapter=Visual Pleasure and Narrative Cinema|ref=harv}}
• {{cite book|last=Rebello|first=Stephen|title=Alfred Hitchcock and the Making of Psycho|publisher= Soft Skull Press|location= Berkeley|year=1990|ref=harv|isbn=978-0-7145-2915-8}}
• {{cite book|last1=Rothman|first1=William|title=Must We Kill the Thing We Love?: Emersonian Perfectionism and the Films of Alfred Hitchcock|date=2014|publisher=Columbia University Press|location=New York|ref=harv}}
• {{cite book|last1=Smith|first1=Steven C.|title=A Heart at Fire's Center: The Life and Music of Bernard Herrmann|date=2002|publisher=University of California Press|location=Oakland|ref=harv}}
• {{cite book|last=Spoto|first=Donald|author-link=Donald Spoto|title=The Art of Alfred Hitchcock|edition=2nd|location=New York|publisher=Anchor Books|year=1992|orig-year=1976|ref=harv|isbn=978-0-385-41813-3}}
• {{cite book|last1=Verevis|first1=Constantine|editor1-last=Boyd|editor1-first=David|editor2-last=Palmer|editor2-first=R. Barton|title=After Hitchcock: Influence, Imitation, and Intertextuality|date=2006|publisher=University of Texas Press|location=Austin|pages=15–30|chapter=For Ever Hitchcock: Psycho and Its Remakes|ref=harv}}
• {{cite book|last=Walker|first= Michael |year=2005|title=Hitchcock's motifs|ref=harv|publisher= Amsterdam University Press|isbn=978-90-5356-773-9}}
• {{cite book|last=Warren|first=Patricia|title=British Film Studios: An Illustrated History|publisher=B. T. Batsford|year=2001|ref=harv|isbn=978-0-7134-7559-3}}
• {{cite book|first=Rob|last= White|first2= Edward|last2= Buscombe|title=British Film Institute Film Classics, Volume 1|publisher= Taylor & Francis|location=London|year= 2003|ref=harv|isbn=978-1-57958-328-6}}
• {{cite book|last1=White|first1=Susan|author-link=|editor1-last=Leitch|editor1-first=Thomas|editor2-last=Poague|editor2-first=Leland|title=A Companion to Alfred Hitchcock|date=2011|publisher=John Wiley & Sons|location=Chichester|chapter=A Surface Collaboration: Hitchcock and Performance|pages=181–198|ref=harv}}
• {{cite book|first=Stephen|last=Whitty|title=The Alfred Hitchcock Encyclopedia|publisher= Rowman & Littlefield|location=Lanham and London|year=2016|ref=harv}}
• {{cite book|last=Wood|first=Robin|author-link=Robin Wood (critic)|title=Hitchcock's Films Revisited|publisher=Columbia University Press|location=New York|year=2002|edition=2nd|isbn=978-0-231-12695-3|ref=harv}}

Further reading

• {{cite encyclopedia |last=Barson |first=Michael|encyclopedia=Encyclopaedia Britannica |title=Sir Alfred Hitchcock |url=https://www.britannica.com/biography/Alfred-Hitchcock |date=29 November 2017}}
• {{cite book|last=Chandler|first=Charlotte|author-link=Charlotte Chandler|title=It's only a movie: Alfred Hitchcock, A Personal Biography|publisher=Hal Leonard Corporation|year=2006|isbn=978-1-55783-692-2}}
• [https://deflem.blogspot.com/2016/01/hitchcockguilt.html Deflem, Mathieu. 2016. "Alfred Hitchcock: Visions of Guilt and Innocence."] pp. 203–227 in Framing Law and Crime: An Interdisciplinary Anthology, edited by Caroline Joan S. Picart, Michael Hviid Jacobsen, and Cecil Greek. Latham, MD; Madison, NJ: Rowman & Littlefield; Fairleigh Dickinson University Press.
• {{cite book|last=Durgnat|first=Raymond|title=The Strange Case of Alfred Hitchcock|location= Cambridge, Massachusetts|publisher=MIT Press|year=1974 |oclc=1233570}}
• {{cite book|last1=Hedren|first1=Tippi|title=Tippi: A Memoir|date=2016|publisher=William Morrow|location=New York}}
• {{cite news|last1=Hutchinson|first1=Pamela|last2=Paley|first2=Tony|title=The Genius of Alfred Hitchcock at the BFI: 10 of his lesser-known gems|url=https://www.theguardian.com/film/filmblog/2012/jul/04/alfred-hitchcock-genius-bfi-retrospective|work=The Guardian|date=4 July 2012}}
• {{cite book|last=Modleski|first=Tania|title=The Women Who Knew Too Much: Hitchcock And Feminist Theory|publisher=Routledge|year= 2016 |edition=3rd | orig-year= 1988| location = New York and Abingdon | isbn = 978-1-138-92032-3}}
• {{cite book|last=Mogg |first=Ken |title=The Alfred Hitchcock Story|publisher= Titan|year= 2008 |edition=revised | isbn=978-1-84576-708-2}}
• {{cite book|last1=Pomerance|first1=Murray|author-link=Murray Pomerance|editor1-last=Leitch|editor1-first=Thomas|editor2-last=Poague|editor2-first=Leland|title=A Companion to Alfred Hitchcock|date=2011|publisher=John Wiley & Sons|location=Chichester|pages=237–252|chapter=Some Hitchcockin Shots}}
• {{cite book|last=Rohmer |first=Eric |last2=Chabrol|first2= Claude |title=Hitchcock: The First Forty-four Films|isbn=978-0-8044-2743-2|publisher= F. Ungar|year= 1979}}
• {{cite book|last1=Sloan|first1=Jane E.|title=Alfred Hitchcock: The Definitive Filmography|url=http://www.labyrinth.net.au/~muffin/sloan.html|date=1993|publisher=University of California Press|location=Berkeley}}
• {{cite book|last=Sullivan|first= Jack|title=Hitchcock's Music|publisher= Yale University Press|year= 2006|isbn=978-0-300-11050-0}}
• {{cite book|last1=White|first1=Susan|editor1-last=Freedman|editor1-first=Jonathan|title=The Cambridge Companion to Alfred Hitchcock|date=2015|publisher=Cambridge University Press|location=New York|pages=109–126|chapter=Alfred Hitchcock and Feminist Film Theory (Yet Again)}}
• {{cite journal|

last=Wolcott|first=James|title=Death and the Master|url=http://www.vanityfair.com/hollywood/classic/features/death-and-the-master-199904|journal=Vanity Fair|date= 1 April 1999|issue=464|p=136|archiveurl=https://web.archive.org/web/20101128042605/http://www.vanityfair.com/hollywood/classic/features/death-and-the-master-199904| archivedate=28 November 2010|deadurl=no}}

External links

• The Hitchcock Zone (Hitchcock Wiki)
• {{BFI|4ce2b9ee3449d|name=Alfred Hitchcock}}
• {{IMDb name}}
• {{AllMovie name}}
• {{TCMDb name}}
• {{Screenonline name|446568}}
• {{MHL catalog|65275}}
• {{The Interviews people|alfred-hitchcock}}
• {{Find a Grave}}