Fonda, Henry, 163
Fontaine, Joan, 82, 87, 108, 112, 239
Forbes, Bryan, 51
Foreign Correspondent (film), 70, 123, 191–92, 267, 269–70
Forever and a Day (film), 46
Forster, E. M., 89
Fox, Kate, 217
Frankenheimer, John, 95
Freeman, David, 103, 106, 152, 180
Fremstad, Olive, 118
French Chef, The (television series), 130
French Resistance, 47
Frenzy (film), 51, 107, 123, 145n, 198, 248, 250–51, 256, 276, 293
London’s influence on, 259, 273–74
as reprisal of The Lodger, 51, 250–51
Freud, Sigmund, 18–19, 199
Frohman, Charles, 1
Gainsborough Studios, 28, 212, 271
Galenson, David, xiv
Galsworthy, John, 73
Gardiner, Juliet, 271–72
Gassmann, Remi, 242–43
Gaumont-British, 81, 235
Gavin, John, 35
Gein, Ed, 29
Gentlemen Prefer Blondes (film), 96
George IV, King of England, 137
German film industry, influence on AH of, 60–61, 243, 258–60, 279
Germany, AH’s trips to, 28–29, 60–61, 218, 243, 258–60, 262, 279
Germany, Nazi, 46–50, 308
Germany, Weimar, 12, 61, 117
Get Out (film), 211
Gibson, Charles Dana, 118
Gibson Girl, 118
Gielgud, John, 165, 207–8, 221
Gilliat, Sidney, 64
Girl, The (film), 100
Girl on the Train, The (film), 210
Goble, Mark, 248
Goldsmiths College, University of London, 7
Gone Girl (film), 210
Goodbye Piccadilly, Farewell Leicester Square (La Bern), 274
Good Housekeeping, 118
Goold, Robert, 225
Gordon, Douglas, 196
Gottlieb, Sidney, 183
Graham, Winston, 105
Granger, Farley, 153, 155, 192, 209
Granger, Stewart, 140
Grant, Cary, 29, 54, 68, 140, 172, 217, 252, 268
as AH’s fantasy version of himself, 145–46, 148, 150, 188
as AH’s idea of maleness, 114, 145–46, 150, 151–52, 154–55, 188
in North by Northwest, 19, 34, 143, 144, 150, 218, 232, 270
in Notorious, 85, 219
style of, 140, 143–46, 144
in Suspicion, 32, 112, 282
in To Catch a Thief, 90, 145
Granton Trawler (film), 265
Greeley, Andrew, 282
Green, Hilton, 241
Greene, Graham, 74, 267, 280
Greene, Lawrence, 67
Greenwood, Edwin, 136–37
Grierson, John, 264–65, 273
Grierson, Ruby, 265
Griffith, D. W., 11, 58, 256
Guardian, 32, 106
Guernsey, Otis, 190
Haas, Dolly, 195–96
Halsman, Philippe, 230, 231
Hamilton, Patrick, 154
Hamlet (Shakespeare), 80
“Happy Ending” (Cook), 174
Harrison, Gilbert, 277–78
Harrison, Joan, 62–63, 70, 86, 116, 176, 221–22
Hasse, O. E., 286
“Have You Heard?” (photo-essay), 207n
Hawks, Howard, 54
Hayes, Harold, 38
Hayes, John Michael, 65, 71–73, 76, 97, 187, 218, 219, 274
Haymarket Theatre, 1
Hayward, Leland n, 62
Head, Edith, 128, 141–42, 145
Hearts of the World (film), 58
Heath, Neville, 245
Hecht, Ben, 22, 85, 86, 118
Hedren, Tippi, 112, 255
AH’s alleged sexual assault of, 99–103, 175–76
AH’s interactions with, 97–98, 189, 212–13
in Marnie, 21, 99, 101, 104–5, 109, 291
in The Birds, 13, 98, 108, 151, 291
Hennessy, Peter, 189
Henninger, Mark, 293–95
Hepburn, Audrey, 227
Herald (Melbourne), 229
“Her First Island” (Cook), 176
Herrmann, Bernard, 2, 226, 240, 242, 243, 247
High Anxiety (film), 216
Highsmith, Patricia, 77
Hill, Emily (char.), 169–70
Hill, Fred (char.), 169–70
Hillman, June, 55–56
Hindley, Myra, 15
“History of Pea Eating, The” (Hitchcock), 212
Hitchcock (Chabrol and Rohmer), 54
Hitchcock, Alfred, iv, 12, 33, 56, 68, 75, 88, 92, 93, 101, 113, 125, 131, 138, 144, 157, 167, 173, 185, 220, 231, 238, 256, 262, 272, 282, 294
abusive behavior by, see actors, AH’s abuse of
auteur theory of, 53–55, 80
and censors, 3, 46, 53, 153, 155, 245
and children, 13, 17–18, 205
and collaboration with technicians, 57, 58, 63, 193, 226, 236, 240-43
cross-dressing by, 155, 157, 158
death of, 278, 289
dinner parties of, 116, 119–20, 123, 126, 127–29, 172, 206, 213
family life of, 58, 159–60, 164–68
fictional depictions of, 96, 100
finances of, 30, 52, 66, 128, 138, 181, 204, 226, 246
gifts given by, xii, 98, 99, 103, 114, 177, 216
health issues of, 122, 130–32, 276–78
inner child of, 10–11, 19
knighthood of, 273–74, 277
official fan club of, 18
philosophy of, 10, 37, 148, 150, 158, 248, 289–90
political views of, 46, 76–77, 264, 268, 279
pre-directing employment of, xi–xii, xiv, 3, 7, 8, 59, 61–62, 73, 78–79, 110, 114–15, 194, 202–3, 238–39, 242, 258
as producer, 122, 246
public image of, as self-curated, xii, xiv–xv, 3, 8, 10, 61–62, 73, 78–79, 91–94, 108, 110, 114–15, 158, 166, 169, 194, 202–3, 224–25, 228, 230, 268, 281
religious views of, xv, 5, 248, 253, 277–95
self-mythologizing by, xii, xiv–xv, 3, 8, 61–62, 73, 78–79, 111, 114–15, 158, 224–25, 228, 230
Hitchcock, Alfred, artistic influences on:
American films, 261–62
expressionism, 28, 38, 40, 57, 243, 279–80
filmmakers, 187, 194–95, 244
German film industry, 60–61, 243, 258–60, 279
interest in psychoanalysis, 22–23
Jesuit spirituality, 5, 278–82, 286, 290–91
literary, 11, 15, 31, 32, 38, 189, 280
modernism, 36, 290
Soviet cinema, 258
symbolism, 38
theater, 1–3, 15
visual artists, 195
Hitchcock, Alfred, childhood and adolescence of, 1–11, 23–26, 256–58
education of, 5–7, 253, 278–79, 285–86
Jesuit spirituality as influence in, 5, 278–82, 286, 290–91
parents’ relationship with, 3–5
trauma in, 5–10, 20, 23–26, 115, 222, 278, 284
Hitchcock, Alfred, films of:
academic responses to, xiii, 19, 139, 199–201, 290, 291
advertisements in, 233, 250
AH’s cameos in, 14–15, 42–43, 55, 111, 124, 169–70, 217, 293
anxiety in, 7, 95
cinematographic style of, 52, 56, 78, 186–87, 194, 236, 277
color as used in, 140–42, 186, 195, 228, 244, 280–81
comedy and humor in, 155, 165, 173, 200, 210–25, 240, 255
costumes in, 141–47, 156, 186, 280–81
critical response to, 16, 104–8, 110, 136, 176, 199–200, 205–6, 215–16, 219, 221, 226, 234, 238–39, 245, 247, 259–61, 264, 266–67
French-language films, 47
influence of London and England on, 24, 251–75, 262
innovative techniques in, 44–45, 52, 56, 98, 134, 153, 168, 227, 234
–38, 242–44, 248, 250–51, 261, 285
lighting style of, 28, 39, 56, 236, 244
MacGuffins in, 219
mistakes in, 245
production design in, 20, 57, 105, 181, 186, 197–99, 234–36, 244, 245, 250, 254, 263, 281
propaganda films, 46–49, 261, 308
rape in, 35, 51, 52, 105–7
realism in, 38, 98, 195, 197–98, 211, 244, 264–65, 282
religion, influence on, 6, 248, 278–93, 282
social relevance of, 80, 244–45, 247, 263–64
soundtracks, scores, and sound design of, 2, 39, 227, 237, 242, 244, 247, 250
source material for, 65–66, 71, 73–80, 81, 160, 173, 178, 184, 228, 235, 245, 274
special effects in, 227, 242, 245
spy movies, 14, 46, 67, 70, 85, 107–8, 189–90, 247
storyboards in, 63, 191–92, 242
themes of, see themes, of AH’s films
in 3D, 204, 228
title sequences of, 63
visual art inspired by, 196–97
see also individual films
Hitchcock, Alfred, influence of:
on culture, xiii, 39, 97–98
on filmmakers, 17–18
Hitchcock, Alfred, obsessions of, xiii
advertising, 232–35, 250
food, 111–16
ocean vessels, 258
serial killers, 15, 29, 31, 40, 41–42, 251
transgression of gender roles, 156–58
travel, 7, 9, 60, 159–60, 169, 205, 252
true-crime, 29, 31–35, 163, 183, 245, 247, 250
United Nations, 270
violence and cruelty, xiv, 15, 29, 31, 45–46
Hitchcock, Alfred, on-screen appearances of, 169–70, 206–7
cameos, 14–15, 42–43, 55, 111, 124, 169–70, 217, 293
as television narrator, 32, 132, 202–7, 226, 268, 334
in trailers, 206–7
Hitchcock, Alfred, on-set behavior of, 53, 146, 148, 175, 206, 229
as collaborative, 63–64, 242
demanding nature of, 191–93, 241–42
imperturbability of, 30–31, 118, 193–94, 241
joking and teasing by, 206, 217
pranks and practical jokes, 221–22
toward actors, 6, 13, 30, 95, 98–99, 107–8, 111, 152, 209, 212, 240–41
Hitchcock, Alfred, personality and characteristics of, xi–xii
accent, 253–54, 268–69
alienation, 114, 156, 252–53
anxiety, 2, 7–10, 25, 59, 73, 95, 149, 164, 191, 223, 286
attitude toward artists, 53, 79–80
aversion to conflict, 30–31
aversion to cruelty to animals, 30
cruelty and alleged sadism, 15, 40, 82, 104, 107–8, 220–25
dissembling, 78–80, 127, 148, 180, 191–92
distress about weight, 112–14, 121
ego, xv, 28, 53, 58, 70–72, 147, 164, 179, 180, 194, 208–9
emotional reserve, xv, 13, 30, 117–18, 150–53, 177, 217, 222–23, 254–55, 268
entertainer, 202–25
Londoner, 251–75
loneliness, 7, 9, 86–87, 114, 152, 201
masculinity issues, xv, 86–87, 91, 106, 134–58, 168, 222–23
neatness, organization, and self-discipline, 10, 110, 132, 139–40, 146, 148–49, 171, 191–93, 268, 288–89
personal aesthetic style, 134–58, 289
sartorial style, 137–40, 138, 146, 277
self-deprecation, 114, 195, 217
self-esteem, fragility of, xv, 66, 100, 115, 121, 124–26, 153, 179, 204, 223–24, 286
sense of humor, see Hitchcock, Alfred, sense of humor of
sexism, 45, 82, 89–90, 100, 106–8, 166, 180
sexuality of, 20, 87–90, 103, 156–58, 169, 176, 183, 288
sixth sense, 190–91, 194
social awkwardness, 60, 89, 102–3, 153, 190, 212, 244–45, 252–53
temper, 31
visual imagination, 7, 10–11, 28, 67, 69, 78, 133–47, 187, 191–94, 196–99, 228, 233, 235–37, 244, 261, 266, 280–82
Hitchcock, Alfred, phobias of, 7, 95
aversion to conflict, 30
fear of authority, 6, 7, 23
fear of death, 293
fear of heights, 7
fear of priests, 6, 23
Hitchcock, Alfred, publicity innovations of, 114, 121–24, 228–35, 239–40, 242, 244, 293
silhouette of AH, xii, xvi, 114–16, 321
Hitchcock, Alfred, as screenwriter, 191, 193, 245
“Hitchcock touch” in collaborations of, 64–80, 85, 133, 149, 184–85, 187, 245
Hitchcock, Alfred, sense of humor of, 10, 87, 146, 150, 155, 157, 158, 173, 178–79, 208–25, 214, 226, 230, 241, 268, 289, 290, 294–95
biting, 72, 77, 195, 210, 220–25
dirty jokes and remarks, 99, 174, 212–13
morbid, 6, 15, 25, 32, 33, 45, 160, 220–25, 293
pranks and practical jokes, 123, 143, 213, 216, 221–25
self-deprecating, 114, 126, 148, 217, 273–74
witticisms, 2, 61–62, 208, 213
Hitchcock, Alfred, sexual misconduct, 87–88, 99–103
alleged sexual assault by, 100–103, 176
Hitchcock, Alfred, weight issues of, 77, 100, 111–32, 137, 145
and AH’s passion for good food, 127–30, 131
and alcohol, 123, 131, 174, 276
dieting and weight loss, 111, 116–17, 121–27, 132
as masking agent, 111
as part of Hitchcock brand, 111, 114, 123–26, 125
press reaction to, 120–21, 124, 130
Hitchcock, Alma, see Reville, Alma
Hitchcock, Ellen “Nellie” (sister), 3, 24
Hitchcock, Emma (mother), 3, 5, 9, 25, 285
character of, 3
death of, 122, 164
relationship with AH, 3–5, 115
Hitchcock, John (brother), 3
Hitchcock, John (uncle), 5
Hitchcock, Mary (granddaughter), 200, 285
Hitchcock, Patricia (daughter), 3, 8, 58, 98, 129, 139, 159–60, 166, 168, 171, 173, 204, 222, 224, 268, 285
acting career of, 159, 172–73, 178
AH’s relationship with, 13, 177
Hitchcock, William (brother), 3, 4, 115
death of, 122
Hitchcock, William (father), 3–5, 4, 8–9, 115, 256–58, 285
anxiety of, 8
death of, 23–24, 163
relationship with AH, 3–5
young AH placed in prison by, 8–9, 26, 222
Hitchcock Baker Productions Ltd., 61
Hitchcock brand (Hitchcock touch), xii, xiv, 63, 70, 76, 146, 202, 206, 238–39, 248–49
AH’s use of physical self in, xii, 111, 114, 125, 226, 228–32, 293
in collaborations with writers, 64–80
side projects and spinoffs, 62–63
“Hitchcock Gives Free Rein to the Gentle Sex” (TV Guide), 94
Hitchcock Motifs (Walker), 199
Homolka, Oscar, 17
homosexuality, in films of AH, 153–58
Hopper, Edward, 197
Hopper, Hedda, 7, 95
Hoskins, Gladys Anne, 168
House by the Railroad (Hopper), 197
Houseman, John, 253
Housing Problems (film), 265
Howrah House, 5
Huberman, Alicia (char.), 85
Hunter, Evan, 64, 71, 76, 79–80, 105–6, 146, 230
Hurley, Neil, 291
I Confess (film), 9, 163, 181, 196, 209
Iles, Frances, 62
Infinity of Mirrors (Condon), 179
influenza pandemic, 24
Innes, Hammond, 66
Inspiration (film), 182
Interpretation of Dreams, The (Freud), 18–19
Irish Civil War, 263, 287
Islington Studios, 27
“It Had to Be Murder” (Woolrich), 71
Ives, Irene, 93
Iwer
ks, Ub, 242
Jack the Ripper, 40, 41, 51, 248, 250
Jamaica Inn (film), 64, 136, 209
James, Clive, 213
Jane Eyre (Brontë), 81
Jansen, Cornelius, 288–89
Jaws (film), 246
Jeffries, L. B. “Jeff” (char.), 185–89, 198, 200, 201, 255, 292
Jepson, Selwyn, 173
Johnson, Lyndon, 246
Johnston, Alva, 121
Jones, Jennifer, 104
Joyce, James, 278
Jung, Carl, 19
Juno and the Paycock (film), 73, 81, 263, 287
Juno and the Paycock (O’Casey), 73, 81, 263
Kaleidoscope (film), 245–46
Kauffer, E. McKnight, 56, 63
Kelly, Grace, 29, 145
as AH’s ideal woman, 90–91, 95–97
AH’s interactions with, 90, 95, 99, 118, 127–28, 171, 181, 227
in Dial M for Murder, 35, 108, 181, 280
in Rear Window, 90–91, 93, 108–9
Kennedy, John F., assassination of, 39
Kieling, Wolfgang, 49
King and I, The, (film), 66
Kissinger, Henry, 246
Klee, Paul, 195
knighthood, of AH, 273–74, 277
Knott, Frederick, 90, 171
Konstam, Phyllis, 164
Krohn, Bill, 184–85, 192
Kuleshov, Lev, 187
Kuleshov effect, 187
La Bern, Arthur, 274
Lady Vanishes, The (film), 46, 64, 158, 200, 207, 233, 247, 271, 290
Lambert, Gavin, 196
Landau, Martin, 143, 155–56
Landis, Jessie Royce, 146
Landis, John, 152
Last Laugh, The (film), 28
Laughton, Charles, 136, 209, 273
Laurents, Arthur, 11, 153–54, 171, 174
Lean, David, 273
Leff, Leonard, 232
Legion d’honneur, awarded to AH, 273
Lehman, Ernest, 65–69, 70, 80, 106, 149, 190, 232, 305
Leigh, Janet, 29–30, 35, 42, 44, 63, 145n, 228
Leigh, Vivien, 82
Leigh-Hunt, Barbara, 51, 145n, 274
Leighton, Margaret, 213
Lejeune, C. A., 16–17, 266–67
Leopold and Loeb case, 153
Lewis, Wyndham, 168
Leytonstone, England, 3, 252, 279
Liberace, 140
Life, 163, 170, 207n
Lifeboat (film), 110–11, 122, 123–24, 218, 234
Lloyd, Norman, 16, 62–63, 241, 266
Lloyd’s of London (film), 267
Lodger, The (film), xii, 40, 41, 52, 55–58, 62n, 63, 89, 91, 258–60
critical response to, 205, 259–60
gay subtext in, 154–55
London’s influence on, 252, 254, 255, 259, 277
as precursor of Frenzy, 51, 250–51
publicity for, 230–32
themes and symbols in, 42–43, 163, 284, 292
Lodger, The (Lowndes), 40, 41
Logan, Joshua, 71, 185
Lombard, Carole, 170, 208
London (film), 260
The Twelve Lives of Alfred Hitchcock Page 42
