139 One friend, permitted . . . weight: Chandler, It’s Only a Movie, 2.
140 Hitchcock sometimes said . . . proportions: Ibid., 1.
140 “uniform in its . . . details”: Mann, The Dandy at Dusk, 33.
140 Appointment books kept . . . tailor: AH appointment books, AHC MHL.
140 “Whenever I need . . . “Make that!’ ”: Judy Klemsrud, “Men’s Clothes: Here Comes the Liberace Look,” New York Times, March 4, 1970, 50.
140 “dramatic and emotional . . . thought”: Thornton Delehanty, “A Liberated Hitchcock Dreams Gaudy Dreams in Technicolor,” New York Herald Tribune, April 22, 1945, AHC MHL.
141 “red drops of . . . strongly”: “Some Thoughts on Color by Alfred Hitchcock,” Adelaide Advertiser, September 4, 1937, 13.
141 “smears her lips . . . on it”: Delehanty, “A Liberated Hitchcock Dreams Gaudy Dreams in Technicolor.”
141 “Hitchcock thinks in . . . color”: Edith Head and Jane Kesner Ardmore, The Dress Doctor (Kingswood, Surrey: World’s Work, 1960), 159.
141 “an education in restraint”: Edith Head and Paddy Calistro, Edith Head’s Hollywood (New York: Dutton, 1983), 58.
141 “She’s an extraordinarily . . . colour”: Head and Kesner Ardmore, Dress Doctor, 160.
142 “Hitch paints a . . . suit”: Ibid., 21.
142 “helped me stand . . . Madeleine”: Auiler, Vertigo, 68.
142 “I think Hitchcock . . . camera”: Eva Marie Saint, OHP.
142 “He had such . . . Kendall”: Ibid.
143 “Martin, put on . . . surroundings”: Tim Burrows, “Martin Landau: ‘I chose to play Leonard as gay,’ ” Daily Telegraph, October 12, 2012, https://www.telegraph.co.uk/culture/film/starsandstories/9601547/Martin-Landau-I-chose-to-play-Leonard-as-gay.html.
143 “Excuse me, Mr.Landau . . . impossible”: Tom Mankiewicz and Robert Crane, My Life as a Mankiewicz: An Insider’s Journey through Hollywood (Lexington: University Press of Kentucky, 2012), 109.
143 “North by Northwest . . . suit”: Todd McEwen, “Cary Grant’s Suit,” in How Not to Be American: Misadventures in the Land of the Free (London: Aurum, 2013), 147.
145 “it would be . . . sadism”: Ibid., 151.
145 “gone to any . . . taste”: Cary Grant, “Cary Grant on Style,” GQ, April 15, 2013, https://www.gq.com/story/cary-grant-on-style. Originally published in GQ, Winter 1967–68.
145 “She’s wearing a . . . slacks?”: Head and Kesner Ardmore, Dress Doctor, 156.
145 “the only actor I ever loved”: Nancy Nelson, Evenings with Cary Grant (New York: Warner, 1993), 211.
145 “a rapport and . . . words”: Grant McCann, Cary Grant: A Class Apart (New York: Columbia University Press, 1996), 180.
146 “have the privilege . . . know”: AH to Cary Grant, March 13, 1979, Cary Grant Papers, MHL.
146 “Hitch thinks it . . . casually”: Hunter, Me and Hitch, 15.
146 “Real directors wear ties”: Hitchcock O’Connell and Bouzereau, Alma Hitchcock, 83.
147 “I was so thrilled . . . tell”: Peggy Robertson, OHP.
147 A look in . . . homes: Appraisal of property at 10957 Bellagio Road, Bel Air, by John J. Donahue and Associates, 1962, AHC MHL.
148 “Someone should bring . . . saucer”: Walter Raubicheck, “Working with Hitchcock: A Collaborators’ Forum with Patricia Hitchcock, Janet Leigh, Teresa Wright, and Eva Marie Saint,” in Hitchcock Annual, 2002–03, 33.
148 More indecorous behavior . . . can: Taylor, Hitch, loc. 4777 of 5468, Kindle.
148 “I’ve come to . . . us”: Alfred Hitchcock, “Would You Like to Know Your Future?” in Gottlieb, ed., Hitchcock on Hitchcock, Volume 1, 140–41. Originally published in Guideposts Magazine 14, no. 8 (October 1959): 1–4.
149 “Let’s play”: Bogdanovich, Who the Devil Made It, loc. 9300 of 15740, Kindle.
149 “knows more about . . . job”: Coleman, The Man Who Knew Hitchcock, 236.
149 “to keep the . . . in him”: Spoto, Dark Side of Genius, 406–7.
150 “protest, the triumph . . . art”: Elsaesser, “The Dandy in Hitchcock,” 5.
150 “unshakable resolve not . . . moved”: Mann, Dandy at Dusk, 30.
151 “negative acting, the . . . nothing”: “Film Crasher Hitchcock,” Cue, May 19, 1951, DSP UCLA.
151 “The screen actor . . . well”: Alfred Hitchcock, “Direction,” in Charles Davy, ed., Footnotes to the Film (London: Lovat Dickson, 1937), 9.
151 “You have got . . . over it”: Bogdanovich, Who the Devil Made It, loc. 10166 of 15740, Kindle.
152 “One cannot become . . . man”: Chandler, It’s Only a Movie, 309.
152 John Landis was . . . bearing: Ibid.
152 “You hear about . . . afresh”: Freeman, The Last Days of Alfred Hitchcock, 5.
152 “I don’t give . . . weeks”: Bruce Dern with Christopher Fryer and Robert Crane, Things I’ve Said, But Probably Shouldn’t Have: An Unrepentant Memoir (Hoboken, NJ: Wiley, 2007), 143.
152 Apparently, the brazenness . . . unapproachability: Bruce Dern, Kirby.
153 “A lot of . . . they are”: AH, interview by Richard Schickel, The Men Who Made the Movies: Alfred Hitchcock, PBS, November 4, 1973.
153 Laurents was as . . . 1940s: See Arthur Laurents, Original Story By: A Memoir of Broadway and Hollywood (New York: Alfred A. Knopf, 2000).
153 harassment and criminalization . . . wars: see George Chauncey, Gay New York: The Making of the Gay Male World, 1890–1940 (London: Flamingo, 1995).
153 “built sexual ambiguity . . . material”: Farley Granger, Include Me Out: My Life from Goldwyn to Broadway (New York: St. Martin’s Press, 2007), 69.
154 “According to Hitchcock . . . attack”: Laurents, Original Story By, 131.
154 “always sexual”: Ibid.
154 “Not once was . . . do it”: David Thomson, “Charms and the Man,” Film Comment, February 1984, 61.
155 “a new kind . . . at all?”: McCann, Cary Grant, 121.
155 “It was just . . . while”: Ackland and Grant, The Celluloid Mistress, 35.
155 “a soft baby-face . . . effeminate”: Ernest Lehman, North by Northwest (New York: Viking Press, 1972), 11.
155 “if there is . . . Code”: Geoffrey M. Shurlock to Robert Vogel, of the Motion Picture Association of America, August 21, 1958, AHC MHL.
155 Yet Landau intentionally . . . infatuated: Burrows, “Martin Landau: ‘I chose to play Leonard as gay.’ ”
156 “Martin,” he assured . . . “role”: Ibid.
156 An “odd, weird, little faggish man”: McGilligan, Darkness and Light, loc. 6342 of 20272, Kindle.
156 “become a poof”: Taylor, Hitch, loc. 190 of 5468, Kindle.
156 “sapphic overtones”: McGilligan, Darkness and Light, loc. 1476 of 20272, Kindle.
158 “In the hotel . . . anything”: Truffaut, Hitchcock, 39.
158 “They are all . . . trousers”: Batdorf, “Let’s Hear It for Hitchcock,” in Gottlieb, ed., Alfred Hitchcock Interviews, 77.
158 Once, he did . . . 1957: Alfred Hitchcock, “Alfred Hitchcock Presents: The Great Hitchcock Murder Mystery,” This Week, August 4, 1957, 8–9, 11.
7: THE FAMILY MAN
159 “Florence we just . . . badly”: Alma Reville to Carol Shourds, April 18, 1951, AHC MHL. Published in Hitchcock O’Connell and Bouzereau, Alma Hitchcock, 156.
160 “Journal of Mr. Hitchcock. . . . of it”: AH to Carol Shourds, May 21, 1951, AHC MHL.
163 “like a town without neon signs”: Bogdanovich, Who the Devil Made It, loc. 9801 of 15740, Kindle.
163 Throughout research and . . . perfect: AH to Maxwell Anderson, March 15, 1956, AHC MHL.
164 “cutting and continuity . . . capital ‘A’ ”: Alma Reville, “Cutting and Continuity,” Motion Picture News, January 13, 1923, 10.
165 “Alma in Wonderland . . . married!”: “Alma in Wonderland: A woman’s place is not always in the home,” Picturegoer, December 1925, 48.
165 prompti
ng some researchers . . . career: See Christiana Lane and Josephine Botting, “ ‘What Did Alma Think?’ Continuity, Writing, Editing, and Adaptation,” in Hitchcock and Adaptation: On the Page and Screen, ed. Mark Osteen (Lanham, MD, and Plymouth, UK: Rowman and Littlefield, 2014).
165 “Be interested . . . country”: Weston Edwards, “Making Good in the Film Trade,” AHC MHL.
166 “utmost value so . . . girls?”: Roger Burford, “A New “Chair” Which a Woman Might Fill,” The Gateway for Women at Work, July 1929, 102.
166 “the product of . . . likely to”: Alfred Hitchcock, “Making Murder!” Cassell’s Magazine, August 1930, in Gottlieb, ed., Hitchcock on Hitchcock, Volume 2, 165. NB: The author was unable to locate this piece in the edition of Cassell’s given by Gottlieb in his anthology.
166 “who is two . . . coppice”: Ibid., 164.
167 “imbued with the . . . days”: Alan Warwick, “Alfred Hitchcock’s Tudor Cottage,” Home Chat, February 27, 1932, AHC MHL.
167 “delightfully vivacious and . . . garden”: Mary Benedetta, “A Day with Hitchcock,” unknown publication, undated, AHC MHL.
168 “there is no . . . hall”: Cyril Connolly, Enemies of Promise (Chicago: University of Chicago Press, 2008), 116.
168 “I have a . . . cook”: Jeffrey Meyers, The Enemy: A Biography of Wyndham Lewis (London: Routledge, 1980), 100. Originally published in Geoffrey Grigson, “Recollections of Wyndham Lewis,” The Listener, May 16, 1957, 786.
168 Hitchcock’s affectionate public . . . highbrows: See John Carey, The Intellectuals and the Masses: Pride and Prejudice Among the Literary Intelligentsia, 1880–1939 (London: Faber & Faber, 1992), 152–81, for a discussion on Bennett’s take on family life.
168 “chaos world”: The phrase was first used by Robin Wood in 1965. See Wood, Hitchcock’s Films Revisited.
169 As Donald Spoto . . . Hill: Spoto, Dark Side of Genius, 132–33.
169 “In front of . . . abroad!”: Truffaut, Hitchcock, 80.
169 “After it’s all . . . movie”: Bogdanovich, Who the Devil Made It, loc. 9534 of 15740, Kindle.
169 as pointed out . . . Barr: Barr, English Hitchcock, 122.
170 “What I want . . . here”: Geoffrey T. Hellman, “Alfred Hitchcock,” Life, November 20, 1943, 43.
170 Alma’s green thumb . . . baskets: Hitchcock O’Connell and Bouzereau, Alma Hitchcock, 99–100.
171 The blurry snapshots . . . shirt: Frederick Knott Collection, Beinecke Rare Book and Manuscript Library, Yale University.
171 “When Hitchcock liked . . . family”: Laurents, Original Story By, 125.
171 felt like an adopted child: Arthur Laurents, interview by Donald Spoto, October 19, 1981, DSP UCLA.
171 “it was lovely . . . other”: Laurents, Original Story By, 126.
171 “Oh God, I . . . Daddy’s”: McGilligan, Backstory 2, 138–39.
171 “It wasn’t like . . . to do”: Peggy Robertson, OHP.
172 “He had very . . . personality”: Chandler, It’s Only a Movie, 256.
172 Cook’s agent wrote . . . role: Jacques Chambrun to Whitfield Cook, November 17, 1944, Whitfield Cook Collection, HGARC.
172 “Papa Hitchcock will . . . trouper”: “Film Director’s Daughter Scores in New Comedy,” Hartford Times, October 13, 1944, Whitfield Cook Collection, HGARC.
173 “her mother does . . . daughter”: Marjory Adams, “Hitchcock, En Route Overseas, Stops Off for Daughter’s Play,” Boston Morning Globe, October 17, 1944, Whitfield Cook Collection, HGARC.
174 In 1948, Cook . . . party: December 24, 1948, and December 31, 1948, Whitfield Cook diary, Whitfield Cook Collection, HGARC.
174 prior to engaging . . . Temple: December 30, 1945, ibid. Cook’s diary entry says David Selznick was interested in having Temple star in a remake of an old Hitchcock movie, but doesn’t state which one.
174 “late-Victorian sense of. . . smile”: Whitfield Cook, “Happy Ending,” Whitfield Cook Collection, HGARC.
174 “gin and menstrual . . . beamish”: Laurents, Original Story By, 126.
175 “Unexpected evening!”: Whitfield Cook Diary, September 20, 1948, Whitfield Cook Collection, HGARC.
175 “Chez moi later”: Whitfield Cook Diary, October 9, 1948, Whitfield Cook Collection, HGARC.
175 “Dinner with A . . . call”: Whitfield Cook Diary, October 1, 1948, Whitfield Cook Collection, HGARC.
175 McGilligan also notes . . . together: McGilligan, Darkness and Light, loc. 9739 of 20272, Kindle.
175 In a diary . . . “Tears later”: Whitfield Cook Diary, October 7, 1948, Whitfield Cook Collection, HGARC.
176 “married life was . . . of it”: Bennett, Partner in Suspense, 71.
176 “very lonely this . . . arrived”: Alma Reville to Whitfield Cook, August 23, 1949, Whitfield Cook Collection, HGARC.
176 “unintentionally hilarious”: Richard Coe, “Bergman Sobers Up Down Under,” Washington Post, October 7, 1949, C12.
176 “extremely attractive . . . and her warmth”: Hitchcock O’Connell and Bouzereau, Alma Hitchcock, 149.
176 “Her First Island . . . protection”: Whitfield Cook, “Her First Island,” Whitfield Cook Collection, HGARC.
177 “affection, appreciation, encouragement, . . . collaboration”: AH speech at AFI Lifetime Achievement Award ceremony, March 7, 1979, “Alfred Hitchcock Accepts the AFI Life Achievement Award in 1979,” American Film Institute YouTube channel, https://www.youtube.com/watch?v=pb5VdGCQFOM.
177 “There was a . . . ahead”: Hitchcock O’Connell and Bouzereau, Alma Hitchcock, 7.
178 Hitchcock said he . . . career: Hitchcock, The Woman Who Knows Too Much, 14.
178 With John Buchan’s . . . blank: Alma Reville’s script notes, The Three Hostages, September 16, 1964, AHC MHL.
179 “I had Mrs . . . quality”: AH to Richard Condon, December 8, 1964, Richard Condon Collection, HGARC.
179 “that shot of . . . awful”: Freeman, The Last Days of Alfred Hitchcock, 19.
179 “Alma hates the film”: Peggy Robertson, OHP.
179 “weeping and shaking convulsively”: Taylor, Hitch, loc. 4233 of 5468, Kindle.
179 In 1966 a . . . demurred: Denis Gifford of the Central Office of Information, to Alma Reville, August 8, 1966, AHC MHL.
180 “Mrs Hitchcock and . . . sense”: AH to Madeline Warren, February 20, 1974, AHC MHL.
180 “will never be . . . too”: Hitchcock, “The Woman Who Knows Too Much,” 14.
180 “It was like . . . years”: David Freeman, in discussion with the author, October 6, 2018.
180 “I think he . . . approval”: Freeman, The Last Days of Alfred Hitchcock, 19.
8: THE VOYEUR
182 In 1915, Audrey Munson . . . years later: James Bone, The Curse of Beauty: The Scandalous & Tragic Life of Audrey Munson, America’s First Supermodel (New York: Simon & Schuster, 2016).
182 evoking Duchamp’s seminal . . . 1885: Calvin Tomkins, Duchamp: A Biography (London: Pimlico, 1996), 78.
183 “into this upper . . . films”: Warhol, “Hitchcock,” 8.
183 “had been entirely . . . Dyson”: Alfred Hitchcock, “The Chloroform Clue: My Favorite Mystery,” in Gottlieb, ed., Hitchcock on Hitchcock, Volume 2, 47. Originally published in American Weekly, March 22, 1953, 18–20.
183 “making violent love . . . looked on”: Truffaut, Hitchcock, 206.
183 In the first . . . love: Draft script of The Trouble with Harry, July 27, 1954, AHC MHL.
184 Hitchcock imagined a . . . hair: Notes from meeting about The Short Night between AH, David Freeman, and Peggy Robertson, December 26, 1978.
184 “male gaze”: Laura Mulvey, “Visual Pleasure and Narrative Cinema,” in Film Theory and Criticism: Introductory Readings, eds. Leo Braudy and Marshall Cohen (New York: Oxford University Press, 1999), 833–44.
184 “the little people . . . lives”: Krohn, Hitchcock at Work, 141.
187 “more concerned with . . . narration”: John Belton, “Introduction: Spectacl
e and Narrative,” in Alfred Hitchcock’s Rear Window, ed. John Belton (Cambridge, UK: Cambridge University Press, 2000), 3.
187 “Hitchcock taught me . . . silently”: Patrick McGilligan, Backstory 3: Interviews with Screenwriters of the 1960s (Berkeley: University of California Press, 1997), 181.
187 “Of all the . . . cinematic”: Alfred Hitchcock, “Rear Window,” in Gottlieb, ed., Hitchcock on Hitchcock, Volume 2, 95. Originally published in Take One 2, no.2 (November-December 1968), 18–20.
187 “Galloping horses in . . . film”: Ibid., 96.
187 “Show a man . . . person”: Alfred Hitchcock, “Film Production,” in Gottlieb, ed., Hitchcock on Hitchcock, Volume 1, 215. Originally published in Encyclopaedia Britannica, vol. 15, 1965, 907–11.
187 “What is he . . . man”: AH, Markle, “A Talk with Hitchcock, Part One.”
188 “largely consisted of . . . bored”: Roger Ebert, Awake in the Dark: The Best of Roger Ebert, 2nd ed. (Chicago: University of Chicago Press, 2017), 11.
189 “I watch, I . . . Hitchcock”: Tippi Hedren, SMU.
189 “the British disease”: Vincent, David, The Culture of Secrecy: Britain, 1832–1998 (Oxford, UK: Oxford University Press, 1998), 10.
189 “secrecy is as . . . society”: Ibid.
189 “always felt that . . . you”: AH to Carol Shourds, May 21, 1951, AHC MHL.
190 “a fake masterspy”: Otis L. Guernsey to AH, October 14, 1957, in Auiler, Hitchcock’s Secret Notebooks, 205.
190 Ernest Lehman was . . . Northwest: Baer, Classic American Films, 66.
190 “he had an . . . sense”: Peggy Robertson, OHP.
190 “It was as . . . eerie”: Susan Royal, “Steven Spielberg in His Adventures on Earth,” in Steven Spielberg Interviews, eds. Lester D. Friedman and Brent Notbohm (Jackson: University Press of Mississippi, 2000), 102.
191 “never look at . . . done”: Arthur Knight, “Conversation with Alfred Hitchcock,” in Gottlieb, ed., Alfred Hitchcock Interviews, 178. Originally printed in Oui, February 1973, 67–68, 82, 114, 116–21.
191 “The general method . . . floor”: Alfred Hitchcock, “Director’s Problems,” The Listener, February 2, 1938, 241.
The Twelve Lives of Alfred Hitchcock Page 36
