Transcript of Alfred Hitchcock’s interview with Peter Bogdanovich, 1962. Alfred Hitchcock Collection, Margaret Herrick Library. Used with permission of Peter Bogdanovich and Alfred J. Hitchcock Trust.
Unpublished material by Alfred J. Hitchcock and Alma Reville used with permission of Alfred J. Hitchcock Trust.
Excerpts from Hitchcock by François Truffaut with the collaboration of Helen G. Scott. Copyright © 1983 by Francis Truffaut and Editions Ramsay. English translation copyright © 1984 by Francois Truffaut; copyright renewed © 1995 by Eva Truffaut, Josephine Truffaut, and Laura Truffaut-Wong. Reprinted with the permission of the publishers Simon & Schuster, Inc. and Faber and Faber Ltd. All rights reserved.
Evan Hunter, letter to Scott Meredith, 9/30/61. From the Evan Hunter Collection, Howard Gotlieb Archival Research Center at Boston University. Used with permission of the author’s estate.
Evan Hunter, letter to unknown, 10/27/61. From the Evan Hunter Collection, Howard Gotlieb Archival Research Center at Boston University. Used with permission of the author’s estate.
Ernest Lehman quoted in William Baer, Classic American Films: Conversations with the Screenwriters (Westport, CT, and London: Praeger), 2008. Republished with permission of ABC-CLIO, from Classic American Films: Conversations with the Screenwriters by William Baer, copyright 2008; permission conveyed through Copyright Clearance Center, Inc.
Norman Lloyd, Oral History transcript. Courtesy of DeGolyer Library, Southern Methodist University, Ronald L. Davis Oral History Collection.
Ronald Neame, interviewed by Tim Kirby for Reputations, BBC. Courtesy BBC / Tim Kirby. Manuscript from Patrick McGilligan Collection, University of Wisconsin.
John O’Riordan, “Interview with Alfred Hitchcock,” The Ignatian, 1973. Used with permission from St Ignatius College, London.
Marcella Rabwin, interviewed by Tim Kirby for Reputations, BBC. Courtesy BBC / Tim Kirby, and used with permission of the Estate of Marcella Rabwin.
Alma Reville, letter to Whitfield Cook, 8/23/1949. From the Whitfield Cook Collection, Howard Gotlieb Archival Research Center at Boston University. Used with permission of Alfred J. Hitchcock Trust.
Transcripts from interviews with Peggy Robertson, Eva Marie Saint, and Robert Boyle. Material courtesy of the Academy’s Oral History Projects department. Copyright © Academy of Motion Picture Arts and Sciences.
Samuel Taylor interviewed by Tim Kirby for Reputations, BBC. Manuscript from Patrick McGilligan Collection, University of Wisconsin.
ILLUSTRATION CREDITS
iv Hitchcock, 1972 (Central Press / Hulton Archive / Getty Images)
4 William Hitchcock and son, c. 1900 (Courtesy of BFI National Archive)
12 Hitchcock in Alfred Hitchcock Presents (AF Archive / Alamy Stock Photo)
21 Children in The Birds (TCD/Prod.DB / Alamy Stock Photo)
33 Hitchcock, 1955 (Photo 12 / Alamy Stock Photo)
43 Still from The Lodger (Gainsborough / Kobal / Shutterstock)
44 Janet Leigh in Psycho (Allstar Picture Library / Alamy Stock Photo)
56 Hitchcock and Alma Reville, 1926 (Kobal / Shutterstock)
68 Hitchcock, 1942 (Gjon Mili / The LIFE Picture Collection / Getty Images)
75 Alfred Hitchcock and Thornton Wilder (J. R. Eyerman / Getty Images)
88 Alma Reville and Hitchcock, 1938 (Bettmann / Getty Images)
92 Hitchcock and Ingrid Bergman (ScreenProd / Photonstop / Alamy Stock Photo)
93 Hitchcock, Grace Kelly, and Irene Ives (AF Archive / Alamy Stock Photo)
101 Hitchcock and Tippi Hedren (ScreenProd / Photonstop / Alamy Stock Photo)
113 Hitchcock, 1960 (Keystone Press / Alamy Stock Photo)
125 Hitchcock, 1943 (John Florea / The Life Picture Collection / Getty Images)
131 Hitchcock at the 21 Club, Manhattan, 1956 (John Rawlings / Conde Nast Collection / Getty Images)
138 Hitchcock c. 1926 (Pictorial Press Ltd / Alamy Stock Photo)
144 Hitchcock and Cary Grant (Pictorial Press Ltd / Alamy Stock Photo)
157 Hitchcock, 1957 (Photo by Maxwell Frederic Coplan. Courtesy of David Coplan Schneider)
162 Joseph Cotten and Teresa Wright in Shadow of a Doubt (Entertainment Pictures / Alamy Stock Photo)
167 The Hitchcocks on their wedding day, December 2, 1926 (Evening Standard / Hulton Archive / Getty Images)
173 Alfred, Alma, and Patricia Hitchcock (Peter Stackpole / The LIFE Picture Collection / Getty Images)
185 Hitchcock on the set of To Catch a Thief (Entertainment Pictures / Alamy Stock Photo)
188 James Stewart in Rear Window (cineclassico / Alamy Stock Photo)
203 Hitchcock in Alfred Hitchcock Presents (CBS / Photofest)
214 Hitchcock in Alfred Hitchcock Presents (Revue / Shamley / Universal / Kobal / Shutterstock)
220 Alfred Hitchcock at Screen Directors Guild award dinner (Michael Ochs Archives / Getty Images)
231 Hitchcock, publicity photo for The Birds (cineclassico / Alamy Stock Photo)
238 Hitchcock and Anny Ondra on the set of Blackmail (STUDIOCANAL Films Ltd)
257 Hitchcock and Ingrid Bergman in London (Kurt Hutton / Picture Post / Getty Images)
262 Hitchcock in Blackmail (TCD/Prod.DB / Alamy Stock Photo)
272 Hitchcock in London, 1972 (Entertainment Pictures / Alamy Stock Photo)
283 Hitchcock and Carol Lynley, The Alfred Hitchcock Hour (Everett Collection Inc / Alamy Stock Photo)
294 Hitchcock on the set of Family Plot (Entertainment Images / Alamy Stock Photo)
Index
Page numbers in italics refer to photographs. Page numbers beginning with 303 refer to endnotes.
Page numbers listed correspond to the print edition of this book. You can use your device’s search function to locate particular terms in the text.
ABC, 62, 270n
Academy Awards, 69n, 70, 82, 95, 110, 126, 193, 218, 242n, 267
Academy of Motion Picture Arts and Sciences, 192
Ackland, Rodney, 156, 215–16, 246
Ackroyd, Peter, 136
acting, AH’s knowledge of and opinions on, 95, 110, 151, 156, 188, 189, 203, 207–9, 241
actors:
AH’s abuse of, 6, 82, 87–88, 98–99, 107–8, 221
AH’s conflicts with, 30, 95, 142, 151, 209–10
AH’s lack of sympathy for, 111, 116, 241
AH’s positive relationships with, 90, 110, 128, 142, 145, 210, 217, 316
AH’s reticence with, 30, 209
AH’s views of, 95, 145, 151, 207–10, 241
Acuna, Frank, 140
advertising, AH’s innovative use of, 228–35
advertising industry, AH’s early work in, xi–xii, 7, 233
Aherne, Brian, 126
Alfred Hitchcock and the Three Investigators (book series), 18
Alfred Hitchcock Hour, The (television series), 63, 202
“Final Vow, The,” 282
Alfred Hitchcock Mystery Magazine, 18, 178
Alfred Hitchcock Presents (television series), 12, 17–18, 47, 62-63, 86, 94, 115, 132, 178, 285–86
AH’s appearances on, 32, 132, 202–7, 212, 226, 268
“Bang! You’re Dead,” 6
“The Case of Mr. Pelham,” 150
“Lamb to the Slaughter,” 112n
“Mr. Blanchard’s Secret,” 32
“Revenge,” 95
Alfred Hitchcock Presents Music to Be Murdered By (record album), 45
Alfred Hitchcock’s Fireside Book of Suspense, 200
Alfred Hitchcock Show, The (radio program), 62
Allardice, James, 218
Allen, Jay Presson, 87, 106
Allen, Richard, 91
All Fall Down (film), 95
Allgood, Sara, 287
Always Tell Your Wife (film), 27
Ambler, Eric, 116
American Beauty (Banner), 96–97
American Film Institute Lifetime Achievement Award, 177
Americanism: A World Menace,
260
American Red Cross, 50
Anderson, Paul Thomas, 96–97
Andrews, Julie, 255–56
Antonioni, Michelangelo, 195, 244
Art of Alfred Hitchcock, The (Spoto), 199
Atkinson, G. A., 260
Auber, Brigitte, 102
Auiler, Dan, 246
Avenger, the (char.), 40, 41, 42, 89, 155, 230
Avenging Conscience (film), 11
Aventure Malgache (film), 47
Bailey, Eileen, 256
Balcon, Michael, 27–28, 52, 57, 70, 81, 83, 206, 212, 258–59, 266
Balestrero, Christopher Emmanuel, 163
Balestrero, Rose, 163
Ballantyne, John (char.), 20, 23
Balliett, Whitney, 215
Bankhead, Tallulah, 76, 111
Banner, Lois, 96–97
Barr, Charles, 69–70, 169, 251
Barrie, J. M., 1, 11, 15
Barthes, Roland, 140
Bartlett, Adelaide, 35, 183
Bartlett, Edwin, 35, 183
Bass, Saul, 63–64, 250
Bates, Norman (char.), 3, 29, 38, 40, 41, 182–83, 210, 277
cross-dressing by, 22, 158
Baudelaire, Charles, 150
Baxter, Anne, 9, 285
Bazin, André, 54, 288
BBC, 50, 233, 260
Beardsley, Aubrey, 37
Beatles, The, 262–63
Beau Brummell (film), 140
Beckham, David, 252
Beeson, Paul, 193
Beethoven, Ludwig van, AH compared to, 248
Bel Geddes, Barbara, 91
Belton, John, 186–87
Benchley, Robert, 191–92
Bennett, Arnold, 168
Bennett, Charles, 70–71, 81, 176, 221, 263
Benton, Sally, 162
Bergman, Ingmar, 195
Bergman, Ingrid, 20, 85, 111, 256, 270
AH’s interactions with, 30–31, 90, 95, 99, 128, 172, 175, 207
in Notorious, 85, 92, 109, 219, 282
Bernays, Edward, 227
Bernstein, Sidney, 47–48, 133, 159, 227, 258
Beville, Dickie, 223
Bicycle Thief, The (film), 195
Bidisha, 106
“Birds, The” (du Maurier), 227
Birds, The (film), 7, 13, 21, 64, 71, 146, 211, 227, 269, 313
Hedren in, 97–98, 102, 151
humor in, 211, 240
innovative artistry of, 98, 191, 240–44, 248
lesbian subtext in, 156
publicity for, 230, 231, 232
themes and symbols in, 14, 20–22, 25, 79–80, 163, 291
Black, Karen, 210
Blackguard, The (film), 28, 34, 107
Blackmail (film), 70, 83, 190, 211n, 212
innovative techniques in, 237, 238
London’s influence on, 233, 252, 254, 261, 262
themes in, 14–15, 34–36, 52, 81, 290
Bloch, Robert, 29
Blowitz, William F., 230
Blow-Up (film), 195
Blue Danube, The (Strauss), 81
Bogdanovich, Peter, 49–50, 119, 151, 169, 194, 200
Bon Voyage (film), 47
Booth, John Wilkes, 37
Boxall, H. G., 235
Boyle, Robert, 7, 197, 240–42, 245
Brady, Ian, 15
Bridie, James, 133
British Documentary Film Movement, 264–65
British Film Institute, 84, 201
British International Pictures (BIP), 52
British Ministry of Information, 47
British Museum, 83
Broken Blossoms (film), 256
Brooks, Mel, 216
Brothers Grimm, 14
Brown, Hugh, 191
Brummell, Beau, 135–38, 140, 149, 156
Brunel, Adrian, 260
Buchan, John, 31, 178
Buchanan, Barbara J., 107
Buchanan, John, 11
Burford, Roger, 166n
Burford, Stella, 166n
Burks, Robert, 186, 193, 240, 241–42, 245
Cahiers du Cinéma, 53–54
Callow, Simon, 279
Camden Town Murder paintings (Sickert), 42
Canning, Victor, 65–66
Cardiff, Jack, 193, 236
Careers for Women, 83
Carroll, Madeleine, 89, 165, 182
AH’s alleged cruelty toward, 87, 107–8, 221
Carson, Johnny, 99
Cassini, Oleg, 127
Catholicism, influence on AH of, 5, 253, 277–95, 282
Cézanne, Paul, xiv, 195
Chabrol, Claude, 54, 216
Champagne (film), 52, 164, 215, 235–37
Champlin, Charles, 256, 273
Chandler, Raymond, 77–78, 86
Chaplin, Charlie, 83, 268
Chesterton, G. K., 31, 280
Child, Julia, 130
Christie, John, 35
Churchill, Winston, 263
Cinematograph Films Act of 1927 (British), 260
cinematographic style, of AH, 52, 56, 78, 186–87, 194, 236, 277
Citizen Kane (film), 201
class dynamics, AH’s views on, 77, 137, 217–18, 253, 264, 265, 269
Clift, Montgomery, 112, 154, 181, 209, 285–86
Clouzot, Henri-Georges, 29, 244
Codd, Elsie, 84
Coen brothers, 219
Cohen, Paula Marantz, xii
Cold Dark Matter: An Exploded View (Parker), 196
Coleman, Herbert, 71, 149, 171, 198, 205
Collins, Dale, 169
Comolli, Jean-Louis, 48–49
Compson, Betty, 84
Compton, Fay, 2
Condon, Richard, 179, 270n, 281
Connery, Sean, 104, 270
Connolly, Cyril, 168
Conrad, Peter, 220
Constant Nymph (film), 165
Cook, Whitfield, 118, 124–25, 172, 173–78, 183
Corbett, James, 118
Cornwell, Patricia, 42
Cotten, Joseph, 37, 160–61, 162, 270
Coward, Noel, 52
Cox, Jack, 236
Crane, Marion (char.), 15, 29–30, 39, 49, 141, 182–83, 221, 290
Cribbins, Bernard, 213
Crime and Punishment (Dostoevsky), 74
Crippen, Hawley Harvey, 35, 145
Cronyn, Hume, 71
Crossman, Richard, 47
Crowther, Bosley, 35
Cry Baby (film), 13
Cutts, Graham, 28, 56, 59, 194
Dahl, Roald, 17, 112n
Daily Express, 258, 260
Daily Herald, 117, 259–60
Daily Mail, 261
Daily Mirror, 261
Dalí, Salvador, 20
Dall, John, 153
Dandy (char.), 136–37
“Dandy in Hitchcock, The” (Elsaesser), 133n
Daniels, Melanie (char.), 21–22, 25, 97–98, 151, 211, 269
Darcy, Georgine, 217
Davies, George Llewelyn, 1
Day, Doris, 13, 14, 179, 209
Day, Laraine, 269–70
Day of the Triffids (Wyndham), 228
“Decline of the English Murder” (Orwell), 36
Deller, Jeremy, 196
DeMille, Cecil B., 186
De Quincey, Thomas, 41
Dern, Bruce, 152, 277n, 294
DeRosa, Steven, 90
De Sica, Vittorio, 195
Devane, William, 210
Diaboliques, Les (film), 29
Diaghilev, Sergei, 227
Dial M for Murder (film), 35, 90, 108, 171, 181, 204, 280, 290
Dial M for Murder (Knott), 171
Dick, Douglas, 177
Dick Cavett Show, The, 132
Dickens, Charles, 62
Dietrich, Marlene, 159, 271
Dimmock, Emily, 42
Disney, Walt, 242
documentary films, 47–49, 150, 163, 264–65, 308
“Does Frenzy Degrade Women?” (New York Times article), 107
Donat, Robert, 107–8, 221
Dor, Karen, 247
Douchet, Jean, 55
Downhill (film), 20, 52, 155, 233, 252, 260
Drifters (film), 265
Duchamp, Marcel, 182
Duel in the Sun (film), 104
du Maurier, Daphne, 81–82, 227
du Maurier, George, 94
Durgnat, Raymond, 133, 201, 265–66
Dyson, George, 183
Ealing Studios, 266
Easy Virtue (film), 52, 215, 233–34, 236
Ebert, Roger, 108, 277
Edgar, Marnie (char.), 20–23, 104–7, 109, 141, 151
Edgar Allen Poe Award, 72
Edward VII, King of England, 59, 116
Eisenstein, Sergei, 258
Eisner, Lotte, 28
Elsaesser, Thomas, 133n, 139, 150
Elsom, Mary, 228
Elstree Studios, 52, 215–16
Emerson, Ralph Waldo, 255
Eminem, 45
English character:
AH’s opinions on, 32, 34
AH’s relationship to, 251–58, 268, 293
America and Hollywood as viewed by the English, 260–64, 269
emotional reserve in, 254–55, 274
and food, 116
and interest in true crime, 29, 32–33, 36
masculinity in, 150
secretiveness in, 189–90, 254–55, 263–64
sense of humor in, 216–18, 268
sexuality in, 87, 158, 217
English Hitchcock (Barr), 251
Erickson, Doc, 198
Escoffier, Auguste, 116
Esquire, 38, 41
Evening Standard, 261
Exodus (film), 95
expressionism, influence on AH of, 28, 38, 40, 57, 243, 279–80
Fahrenheit 451 (film), 100
Fallaci, Oriana, 8, 216, 219
Family Plot (film), 65–66, 69, 91, 152, 190, 210, 211, 215, 247, 276, 277, 281, 293, 294, 305
Famous Players-Lasky, xi–xii, 27, 59, 83, 258
Fargo (film), 219
Farmer’s Wife, The (film), 52, 164, 234, 261
filmmaking, AH on, 61, 187, 191, 228, 237, 247, 248–49, 261, 268
as art vs. commerce, 53, 204–6, 219, 233, 246, 248, 259, 262–64
auteur theory of, 55
casuistry, use of, 278–79
comedy, 211
content vs. form in, 235
realism in, 38, 98, 195, 197–98, 211, 244
silent filmmaking principles in, 187, 263
source material in, 65
story structure in, 250–51
suspense vs. surprise in, 17, 78, 242
violence and fear in, 37, 51
films, of AH, see Hitchcock, Alfred, films of
Film Weekly, 61, 107
Fincher, David, 134, 210
The Twelve Lives of Alfred Hitchcock Page 41
