Free ebooks ==> www.Ebook777.com www.Ebook777.com Free ebooks ==> www.Ebook777.com Hitchcock Lost and Found www.Ebook777.com Hitchcock Lost and Found The Forgotten Films Alain Kerzoncuf and Charles Barr Foreword by Philip French Free ebooks ==> www.Ebook777.com Due to variations in the technical specifications of different electronic reading devices, some elements of this ebook may not appear as they in the print edition Readers are encouraged to experiment with user settings for optimum results Copyright © 2015 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University All rights reserved Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Library of Congress Cataloging-in-Publication Data Kerzoncuf, Alain Hitchcock lost and found : the forgotten films / Alain Kerzoncuf and Charles Barr ; foreword by Philip French pages cm — (Screen classics) Includes bibliographical references and index ISBN 978-0-8131-6082-5 (hardcover : alk paper) — ISBN 978-0-8131-6084-9 (pdf) — ISBN 978-0-8131-6083-2 (epub) Hitchcock, Alfred, 1899-1980—Criticism and interpretation I Barr, Charles II Title PN1998.3.H58K48 2015 791.4302'33092—dc23 2014044816 This book is printed on acid-free paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials Manufactured in the United States of America Member of the Association of American University Presses www.Ebook777.com To my wife, Valérie A K To my daughter, Stella C B Contents Foreword by Philip French ix Note on Citation Style and Images xv Introduction 1 1. Before The Pleasure Garden: 1920–1925 11 2. The Early 1930s 73 3. The War Years 121 4. After the War 193 Epilogue: What Now? 215 Acknowledgments 219 Notes 221 Bibliography 231 Index 237 Free ebooks ==> www.Ebook777.com Foreword In this valuable contribution to Hitchcock studies, a book of equal interest to the academic world and movie enthusiasts, Charles Barr and Alain Kerzoncuf quote Paula Cohen’s confident claim that “to study him is to find an economical way of studying the entire history of cinema.” Hitchcock has been part of my own experience of the cinema since 1939, the year I turned six, saw Jamaica Inn on its initial release, noted the name of the director, and began to develop the instincts of a discerning moviegoer But not so discerning that good taste prevented me from enjoying its stirring tale of wreckers and revenue men on the Cornish coast (where the previous summer I’d spent my holidays) or saved me from being shocked like everyone else in the audience when Charles Laughton’s Sir Humphrey Pengallan throws himself to his death from the riggings of the sailing ship This would have been my first experience of the recurrent Hitchcockian motif of people falling from high places That year I committed to memory all fifty cards of movie stars given away with packets of Wills cigarettes, but Alfred Hitchcock was one of the only two directors I could name or recognize (the other of course being his fellow Londoner Charlie Chaplin) By the time I was ten or eleven I had learned a great deal about him—from listening to adult conversations or being told about him by my parents (both of them habitual but uninquisitive moviegoers), reading advertisements, and seeing his films, and by general osmosis—and I knew him to be someone of importance He made signature appearances in all his movies, was a tubby cockney, had earned (or bestowed on himself) the sobriquet “master of suspense,” had been accused of dodging ix www.Ebook777.com 236 Bibliography and later Bon Voyage and Aventure Malgache At the time of writing, the IWM website still gives no information about these papers, which await full cataloguing, but they are accessible to any researcher who books an appointment: http://www.iwm.org.uk/collections-research/ research-facilities The website does give a link to an oral history interview with Bernstein, conducted by Kay Gladstone in 1982 Type “BFI Special Collections” into a search engine and you are led straight into an introductory page and “gateway”: http://www.bfi org.uk/archive-collections/introduction-bfi-collections/exploringcollections/special-collections Facilities at the BFI Reuben Library are nothing like as spacious as at the Margaret Herrick Library, but the holdings are extensive, thoroughly catalogued, and searchable online, including the two collections of most relevance to this project, those of Adrian Brunel and Ivor Montagu A further BFI online resource (http://www.bfi.org.uk/news/ restoring-hitchcock-1-how-film-restoration-begins) provides an account by Bryony Dixon and Kieron Webb of the restoration work on Hitchcock’s own early films as director As in the case of Screenonline, audiovisual extracts play out in some areas, not others; but even in the absence of these, the text and the images are still informative Another point of entry is the account of handling the variant versions of Champagne from 1928: http://www.bfi.org.uk/news/ restoring-hitchcock-4-trouble-champagne Of the multitudinous other sources of material on Hitchcock, in print and online, one is outstandingly useful: the Hitchcock “wiki” run by Dave Pattern, http://www.hitchcockwiki.com/wiki/Main_ Page It provides a very full assembly of information about books, chapters, articles, and reviews, always up-to-date, and gives direct access to many items Index Page numbers that appear in italics refer to photographs or to their captions Aventure Malgache, xiii, 1, 123, 139, 145, 146, 147, 154, 157, 158–70 Abel, Alfred, 100, 102–5 After Office Hours, 80 Aherne, Brian, 124–26 Alfred Hitchcock Presents (TV series), x, 90, 110, 193 Allardice, James, 196, 203, 209 Allen, Jay Presson, 194 Always Tell Your Wife, 27–28, 32, 38–44, 63, 85, 111, 215, 222n20 Anderson, Lindsay, 211–12 Antonioni, Michelangelo, 110 Appearances, 14, 22 Arnold, Tom, 112 Asquith, Anthony, 8, 56, 228n36 Associated British Picture Corporation (ABPC), 85, 147, 167 Auiler, Dan, 4, 111 Ault, Marie, 28, 38 Baird Television, 73, 85–88 Balcon, Michael: back with Hitchcock in the 1930s, 74, 112, 116–20, 121, 142; critical of Hitchcock in 1940, xiii, 121–22, 129, 145; early promotion of Hitchcock, 11–13, 27, 44–45, 48, 121, 217; managing Ealing, 129, 132; managing Gainsborough, 11–12, 45–48, 51, 63; use of Brunel, 30–32, 58, 69, 93–94; use of Montagu, 93, 116–20 Bamford, E St J., 128, 129 Banks, Monty, 94 Baring, Norah, 105 Barrie, J M., 16, 29, 52, 194 Barry, Iris, Battleship Potemkin, 212 Bayley, Hilda, 34, 35 237 238 Beddington, Jack, 129 Belfrage, Colin, 154 Belgian Film Archive, 10, 168 Bell, Major C H., 23 Bennett, Charles, 59, 74, 113, 126, 205 Benson, Annette, 19 Bentley, Thomas, 79–80, 223n4 Bergere, Ouida, 13–14 Bergman, Ingrid, x, 154 Bernstein, Sidney: collaboration on camps project, 182–87, 190–92; collaboration on films for France, 146, 156– 57, 163, 167; collaboration on MoI re-edits, 127–30, 133–34, 142; long-term friendship, 121–23, 146, 213; partner in Transatlantic Films, 123, 174–75, 191; visits to the U.S., 124, 146 Beside the Bonnie Brier Bush, 14, 114 Birds, The, 9, 147, 208 Birth of a Nation, 181 Blackguard, The, 45, 56–62, 93 Blackmail, x, 37, 73–77, 87, 95, 108; archival status, 8–9; documentary elements, 211–12; Film Weekly award 1930, 74, 89–90; links with Elstree Calling, 83, 90, 92, 95–96; links with other films, 54–56, 97–98, 106, 109, 144, 218; posters, 6, 76; silent and sound versions, 74–75, 85, 97, 106, 218; U.S exhibition, 75, 76, 144 Blade, Penrhyn, 40–41 Blow-Up, 110 Index Blythe, John, 147, 164, 228n36 Bogdanovich, Peter, 9, 28–29, 80, 92, 194 Bonifas, Paul, 164, 165, 166, 167, 227–28n36 Bon Voyage, xii, 1, 8, 123, 139, 145–58, 159, 170 British Film Institute (BFI), 4, 6–8, 33, 75, 120, 168–69, 204 British International Pictures (BIP), 8, 74–112, 147 Brook, Clive, 45, 52–54, 55 Brown, Teddy, 96 Bruce, Nigel, 112, 134 Brunel, Adrian: early help and advice to Hitchcock, 30–32, 43, 58, 63, 69, 93; Elstree Calling, as director of, 88–97; Elstree Calling script, homage to Hitchcock in, 94–96; Elstree Calling, sense of betrayal by Hitchcock with regard to, 93, 97, 110; as silent film director, 74–75, 89–90, 93 Brunius, Jacques, 159 Brussels Film Festival, 168 Buchan, John, 189–90 Burnell, Helen, 96 Butcher, Cyril, 80–85 Cahiers du Cinéma, Calder-Marshall, Arthur, 159 Call of Youth, The, 14 Calthrop, Donald, 83, 90–92, 96 Cameron, Charles, 195–96, 198 Carroll, Madeleine, 114, 117, 118, 208 Index Carroll, Sydney, 90, 92, 96 Cavalcanti, Alberto, 132, 137, 140–41, 145, 213 Central Office of Information (COI), 167–69 Chabrol, Claude, x, xi, 10 Champagne, 90 Champlin, Charles, 57 Chaplin, Charles, ix, 16, 28–29 Chapman, Edward, 78 Children of Chance, 82 Churchill, Winston, 144 Cinộmathốque franỗaise, La, 910 Citizen Kane, 11 Clair, René, 124–26 Claridge’s Hotel, London, 147, 158–59, 163–65, 185–86 Clark, Robert, 147, 156 Clarus, Paul, 159–65, 165, 167–68, 170 Clermont, Jules See Clarus, Paul Codd, Elsie, 28–29 Cohen, Paula Marantz, ix, 2, 218 Colman, Ronald, 134 Compson, Betty, 40, 45, 48, 50–52, 54 Condon, Richard, 182 Connery, Sean, 36 Constant Nymph, The, 74–75, 89–90 Courtneidge, Cicely, 96, 107 Coward, Noel, 77 Crisp, Donald, 13–15, 27, 28, 32–33, 114 Croise, Hugh, 28, 38–41, 44 Cromwell, John, 171, 176 Crossman, Richard, 185–88, 190 239 Cummings, Robert, 112 Cutts, Graham: case for reassessment, xii, 1, 53, 62, 69–71, 223n31; decline in 1930s, 71, 97, 110; high prestige in 1920s, 45–48; lost films awaiting rediscovery, 217–18; press images, 47, 49, 53; seven films with Hitchcock, 1, 12, 27–28, 33–38, 45–72 Cutts, Patricia, xii, 71–72 Dangerous Lies, 14, 17, 18, 22, 216 Dangerous Virtue See Prude’s Fall, The Dauphin, Claude, 159, 163, 227n32 Davy, Charles, x Daw, Marjorie, 45, 55 Dead Run (script), 182 de Gaulle, Charles, 161, 163 De Mille, Cecil B., 16 Despard, Aileen, 80–85 Dial M for Murder, x, 112, 200 Dickinson, Thorold, 75 Dixon, Bryony, Donat, Robert, 114, 208 Downhill, 8, 19, 39 Dreyer, Carl, 62 Drifters, 212 du Maurier, Daphne, 208, 216 du Maurier, Gerald, 216 Dupont, E A., 16 Durgnat, Raymond, 212 Ealing Studios, 129, 132, 146, 148, 213 Easy Virtue, 8, 39, 77, 112 240 Eden, Anthony, 157 Eden, Timothy, 157 Edwards, Henry, xii, 70, 217, 218 Eisenstein, Sergei, 212 Elastic Affair, An, 73, 80–85, 194 Elstree Calling, 73, 80, 83, 88–97, 107 Elvey, Maurice, 45, 216 Emerson, John, 23 Enchanted Cottage, The (1924), 16, 176, 216–17 Enchanted Cottage, The (1945), 176 Esway, Alexander, 82 Everyman Cinema, 168 Fairbanks, Douglas, 92 Family Plot, 3, 148 Famous Players-Lasky (FPL) 11, 19, 50 Famous Players-Lasky British (FPLB), 11–29, 32–34, 69 Farmer’s Wife, The, 90 Fighting Generation, The, 124, 170–75 Film Society, 5, 93, 122, 212–13 First Born, The, 56 Fitzmaurice, George, 13–15, 17, 20, 21, 24, 25–26 Flaherty, Robert, 212, 213 Flames of Passion, 28, 33–34, 35, 37, 45, 54, 56, 217 Fleming, Rhonda, 173 Flynn, Errol, 130 Footsteps in the Dark, 130 Forbidden Fruit, 16 Ford, Hugh, 14 Ford, John, 200–201 Index Foreign Correspondent, x, xii, 145, 176, 177, 190–91 Forestier, Colonel, 163 Forever and a Day, 123, 124–26, 176 Four Horsemen of the Apocalypse, The, 48 Franju, Georges, Free French forces, 157, 163–64, 166 Frenzy (1967 project) See Kaleidoscope Frenzy (1972), 4, 34, 110–11 Frère, André, 164, 165 Fyffe, Will, 96 Gainsborough, 11–12, 30, 32, 45–69, 74, 77, 89, 93–94, 112, 121, 124 Garson, Greer, 201 Gaumont-British, 74, 112, 116, 118, 121, 124 General Post Office Film Unit (GPO Film Unit), 116, 134 Gerson, Jack, 209 Gervasi, Sacha, 2, 201 Gielgud, John, 117, 118 Gifford, Denis, 63, 80 Girl, The, Gladstone, Kay, 185 Gledhill, Christine, 53–54, 56, 62 Glorious Youth, 217–18 Glynne, Mary, 13–14 God’s Clay, 217–18 Gold Rush, The, 16 Gone with the Wind, 174 Goodman, Ezra, 174 Gottlieb, Sidney, 175–76, 178–81, 209 Index Graham, John, 184 Granada Television, 184, 185, 222n2, 229n12 Grant, Cary, 71–72, 124, 125, 154, 182, 201 Gray, Hugh, 132, 137, 142, 213, 226n10 Great Day, The, 14 Greene, Graham, xi Greet, Clare, 14, 28–29, 30, 31 Grierson, John, 116, 128, 145, 208–14 Griffith, D W., 15, 24, 42, 95, 180–81 Griffith, Richard, Hale, Jonathan, 176 Hammarskjöld, Dag, 182 Hardy, Thomas, 65 Harker, Gordon, 90–92 Harmony Heaven, 73, 79–80 Harriman, Averell, 144 Hecht, Ben, 154, 176, 178–79, 181 Hedren, Tippi, 36, 194 Hicks, Seymour, 28, 32, 38–44, 85–88 Hitchcock (2012 film), 2, 201 Hitchcock, Alfred, as art director, 45, 49, 57–58; documentary links, 142, 145, 210–14; handwriting, 43, 111; images of, 30, 49, 53, 151, 201, 206, 211; insert shots, 19, 20, 24, 26; as screenwriter, 49–53, 56–69; texts, spoken, 196–200, 202–3, 205–8, 213–14; texts, written, 18, 108, 156; as title writer, 14–15, 17–19, 32, 241 39, 42; wartime controversy, xii–xiii, 121–22, 129, 145 Hitchcock, Alma (wife) See Reville, Alma Hitchcock, Patricia (daughter), 27, 109 Hitchcock collaborators See Bennett, Charles; Brunel, Adrian; Cutts, Graham; Hecht, Ben; Montagu, Ivor; Reville, Alma; Stannard, Eliot Hitchcock literature: bibliography and filmography (see Sloan, Jane); biography (see McGilligan, Patrick; Spoto, Donald; Taylor, John Russell); criticism (see Durgnat, Raymond; Ryall, Tom; Walker, Michael; Wood, Robin); interview (see Bogdanovich, Peter; Truffaut, Franỗois); Hitchcock on Grierson (TV), 145, 208–14, 218 Hitchcock producers See Balcon, Michael; Bernstein, Sidney; Selznick, David O Hollywood Revue of 1929, 88 Holm, Hanya, 195 Hopkins, Anthony, 2, 201 Hopkins, Harry, 144 Horrocks, Roger, 116 Howard, Trevor, 184 Hulbert, Jack, 96 Hull, Cordell, 178 Hume, Benita, 112 I Am a Fugitive from a Chain Gang, 16 242 Imperial War Museum (IWM), 1, 5, 149, 155, 161, 184, 188 Ingram, Rex, 16, 48 Intolerance, 181 Irish Film Institute, Isle of Lost Ships, The, 16 Islington Studios (London), 11–49, 148, 216, 217; 1920s efficiency, 12, 23; 1930s decline, 221–22n9; base for Famous Players-Lasky British, 13–27; base for Gainsborough and Balcon, 45–56, 62–69; four-wall facility after FPLB departure, 27–44 Jamaica Inn, ix, 134, 213 Jarratt, Arthur, 130, 225n8 Jarrold, Julian, Jennings, Humphrey, 132, 213, 225n3 Joelle, Janique, 148–154, 155, 158, 170 Johnston, Julanne, 45, 65, 66–67 Jolson, Al, 95 Jones, Hannah, 90 Jones, Jennifer, 171–75, 172 Jones, Toby, Juno and the Paycock, 9, 73, 77–79, 97, 106, 113 Justice, 216 Kaleidoscope, 4, 110–11, 194 Kapsis, Robert, Kelly, Grace, 112 Keys, Nelson, 107 Kid, The, 29 Kinema Club, 5, 15, 39, 41, 70 Kirkwood, James, 14, 19, 20, 21, 25, 26 Index Konstam, Phyllis, 101 Korda, Alexander, 112 Kosleck, Martin, 176, 177, 181 Kress, Harold, 176 Kuleshov, Lev, 212 Kuleshov effect, 17, 107–8 Lady Vanishes, The, x, 8, 148, 190, 191, 209 Lamprecht, Gerhard, 100 Lang, Fritz, xii, 57, 100 Langley, Herbert, 34, 35 Langlois, Henri, 9–10 Last Command, 16 Last Laugh, The, 57, 70, 217 Laughton, Charles, ix Lawrence, Gertrude, 112 Laye, Evelyn, 107 Lee, Auriol, 108–9 Lefferts, George, 195–96, 200, 209 Lehman, Ernest, 157 Leitch, Thomas, 100 LeRoy, Mervyn, 16 Let’s Go Bathing, 73, 106–8 Letter, The, 83, 84 Lifeboat, x, xii, 191 Lily of the Alley, 70, 217 Little Minister, The, 52, 54 Lodger, The, 24, 38, 95; archival status, 8–9; documentary elements, 211–12; re-editing by Montagu, 93, 116–17; wireless technology, 88, 90 London Can Take It, 127, 143, 225n3 London Film Festival, 168, 184 Lord Camber’s Ladies, 74, 108–12 Lorre, Peter, 117–19 Free ebooks ==> www.Ebook777.com 243 Index Longden, John, 90, 91 Love’s Boomerang, 14, 216–17 Lovett, Josephine, 13–14 Low, Rachael, 63 Lupino, Ida, 124–26 Lye, Len, 116, 120, 142 Macdonald, David, 123, 128, 129, 132, 212 Macdonald, Ian, 216 Macphail, Angus, 146, 147, 153, 158, 163, 164 Madagascar See Aventure Malgache Mander, Miles, 45, 56, 64, 99, 176 Man from Home, The, 13–14, 19–21, 23–27, 69 Mankiewicz, Joseph, 182 Manvell, Roger, x Man Who Knew Too Much, The (1934), 8, 58, 113, 190 Man Who Knew Too Much, The (1956), 184 Manxman, The, 4, 34, 69, 73, 74, 211, 218 Marnie, 34, 36, 182, 194 Marsh, Mae, 28, 34, 37–38 Marshal, Alan, 175 Marshall, Herbert, 100, 102–5 Mary, 73, 81, 97–106, 176, 224n16 Matter of Life and Death, A, 57 Maxwell, John, McAllister, Stewart, 132, 135, 140–41, 142, 184, 225n3 McBride, Joseph, 194 McCoy, Gertrude, 28, 40 McDonnell, Claude, 39 McGilligan, Patrick, 12, 16, 28, 100, 110, 123, 156, 185 McLaglen, Victor, 45, 54 Meeker, David, 169–70 Memory of the Camps, 1, 124, 179, 180, 181, 182–92 Men of Lightship “61,” 127–43 Men of the Lightship, xii, 123, 127–43, 145, 146, 184, 212–13 Mikael, 62 Milland, Ray, 112 Miller, Arthur, 17 Ministry of Information (MoI), 122, 167, 175, 185–86 Mirren, Helen, 201 Moana, 212, 229n10 Molière Players, 159, 160, 164–65, 165 Montagu, Ivor, xii, 30, 63, 93–94, 116–19, 205 Montgomery, Robert, 134 Moorehead, Caroline, 183–85 Morgan, Sidney, 78 Morris, Lily, 96 Morton, Michael, 45, 48–53 Motion Picture Studio (journal), 15, 38, 49, 53 Mountain Eagle, The, x, xi, xiv, 2, 4, 32, 194, 215 Movie (magazine), x Mrs Peabody See Number Thirteen Mulvey, Laura, 62 Murder!, 8, 38, 64, 73, 79, 81, 82, 83, 92, 97–106, 142, 176, 224n16 Murnau, F W., 57, 70, 100, 217 Museum of Modern Art (MoMA) [New York], 8–9, 79, 194 Mystery Road, 14, 22 www.Ebook777.com 244 Newton, Robert, 134 North by Northwest, x, xii, 71–72, 156–57, 182, 196 North Sea, 212 Notorious, 154, 160, 178, 181, 191 Novak, Jane, 45, 52, 63–69 Novello, Ivor, 82, 93 Number Seventeen, 8, 74, 80, 83, 92, 108, 142 Number Thirteen, xi, 4, 27–32, 38, 93, 194, 215 Oberhausen Film Festival, 168 O’Casey, Sean, 77 Old Dark House, The, 109 Ondra, Anny, 6, 56, 76, 90, 91, 95, 217–18 Orton, J O C., 147, 164 Osbiston, Alan, 154, 227n26 Paddy the Next Best Thing, 28, 37–38, 217 Painful Reminder, A (TV), 184–88 Paradine Case, The, 34, 122 Passionate Adventure, The, 45–46, 46, 53–56, 62, 72 Pathé News, 106–7 Paton, Raymond, 45, 56, 59 Philippo, Christopher, 18 Pickford, Mary, 92 Pinero, Arthur Wing, 16 Pleasure Garden, The: casting of Mander, 64, 176; Hitchcock’s launch as director and, xii, 3–5, 10–12, 43, 48, 69, 74; letter from Hitchcock, 43; opening scene, 54, 107; Stannard as writer, 5, 52, 69, Index 217; wireless technology, 88, 90 Pommer, Erich, 93–94, 108 Powell, David, 13, 14 Powell, Michael, 57, 132 Powell, Paul, 14, 17–18, 216 Preminger, Otto, 182 Preney, Paulette, 164, 165, 167, 228n36 Pressburger, Emeric, 57, 132 Princess of New York, The, 14, 22 Pritchett, V S., 146–47, 164, 228 n36 Prude’s Fall, The, 12, 45, 51, 62–69, 93–94, 176 Psycho, x, 106, 188–89, 191, 196, 203 Pudovkin, Vsevolod, 212, 216 quota legislation, 23, 32 Rat, The, 69–70 Rear Window, 107, 180, 184 Rebecca, 34, 112, 122, 128, 129, 145, 174 Reed, Carol, Reissar, Jenia, 174 Reville, Alma, 9, 24, 27, 59, 70, 74–75, 90, 126, 216 Reynolds, Quentin, 144, 225n3 Rich and Strange, 74, 108 Ring, The, 24, 90, 94, 211 Robertson, John S., 13–16, 29, 176, 216–17 Rogers, Will, 200–201, 203 Rohmer, Eric, x, xi, 10 Romany, The, 114 Roosevelt, Franklin D., 176 Rope, 70, 123, 160, 184, 191–92, 197 Index Rosenthal, Joe, Jr., 28 Rotha, Paul, 9, 213 Ryall, Tom, 211–12 Sabotage, x, 8, 116, 190 Saboteur, xii, 124, 191 San Demetrio London, 212 Saturday Night, 16 Saville, Victor, 12, 48, 124 Scaramouche, 16 Secret Agent, 112, 116–20, 142 Selznick, David O.: contract with Hitchcock, x, 109, 121–22, 175, 191; making A Fighting Generation, 171–75; non-Hitchcock productions, 171, 174, 176; resentment of Bernstein plans, 123, 146, 174–75 Sentimental Tommy, 16, 216–17 Sharp, Leonard, 136, 137, 138, 226n15 Shatner, William, 196–200 Sherwood, Robert, 129–30, 133–34, 143 Shute, Nerina, 82 Siegfried, 57 Since You Went Away, 171, 176 Skin Game, The, 74, 108 Slide, Anthony, 71 Sloan, Jane, xii, 3, 63, 70, 90, 216 Smith, C Aubrey, 28, 34 Song of Bernadette, The, 171 So Proudly We Hail, 174 Spanish Jade, 14, 22, 216–17 Spellbound, 173, 178, 191 Spoto, Donald, 15, 109, 183, 188 Spring Offensive, 213 245 Stannard, Eliot: case for reassessment, xii, 69–70; collaboration on all nine silent films, 52, 59; dropped in 1929, 74, 97, 110, 218; first link with Hitchcock, 27–28, 37–38, 217; preHitchcock films, 114, 216; writings on cinema, 5–6, 69, 216 Star Trek (TV series), 197 Stayton, Frank, 45–46, 53–54 Stein, Lotte, 101 Sterler, Hermine, 99, 100, 101 Stewart, James, 107 Sullivan, Jack, xii Suspicion, 109, 112, 124 Sussex, Elizabeth, 185 Tactic (TV), 194–200, 203, 209, 218 Taming of the Shrew, The, 92 Tanner, Peter, 184–87, 192 Target for Tonight, xii, 123, 127, 134, 143–45, 146, 213 Taylor, John Russell, 15, 17, 28, 56, 90, 109, 146, 148, 183, 188 Tell Your Children, 27–28, 32–33, 34 Terriss, Ellaline, 28, 38–44 Thalberg, Irving, 108 Thesiger, Ernest, 28–29, 30, 31 39 Steps, The, x, 8, 71, 78, 106, 112–14, 115, 116, 181–82, 189, 190, 208 Thomas, Jameson, 90, 94 Three Live Ghosts, 14, 17, 28 Thurston, E Temple, 28, 44 Toland, Gregg, 173 246 Topaz, 120, 194, 209 Tourneur, Maurice, 16 Transatlantic Pictures, 123, 175, 191 Trevor-Roper, Hugh, 192 Trouble with Harry, The, 184 Truffaut, Franỗois, xi, 10, 16, 18, 79, 89, 98, 107, 158, 163, 194, 209, 210 Tschechowa, Olga, 105 Turnbull, Margaret, 14, 28, 33 Two Fathers, 228n36 UFA Studios, 57–58 Under Capricorn, x, 123 Valli, Virginia, 54 Van der Vlis, Diana, 196–200 van Druten, John, 80, 109 Vaughan, Dai, 132, 135, 142, 184–85 Vertigo, 106, 184 Vest, James, 89–90, 92 Vichy government, 159, 160, 163, 167 von Sternberg, Joseph, 16 Wainwright company, 32 Walker, Michael, 52, 54, 60, 62 Waltzes from Vienna, 112 Ward, Warwick, 45, 64, 66–67 Watchtower over Tomorrow, 124, 175–82, 177 Waterloo Bridge, 109 Watt, Harry, 123, 143–45, 213, 225n3 Index Wayne, John, 201 Webb, Kieron, Welles, Orson, xiii–xiv, 11 Welwyn Studios, 147, 148, 152, 154, 156, 167 Westcliff film, 203–8, 218 Whale, James, 109 White, Ethel Lina, 209 White Shadow, The, 1, 7, 12–13, 45, 51–53, 53, 54, 63, 216, 217 Wilder, Billy, xii Will Rogers Appeal, 194, 200–203, 218 Wills, Colin, 185–88 Wollen, Peter, 189 Woman to Woman, 27, 40, 44, 45, 48–51, 52, 59, 62–63, 217 Wonderful Story, The, 54 Wong, Anna May, 92 Wood, Robin, xi, 188–89, 191, 194 Wright, Basil, 213 Wright, Marie, 38, 98, 100–101 Wrong Man, The, 60, 210 Yospa, Manny, 154 Young, Robert, 117–19 Young and Innocent, 8, 60 Z Cars (TV series), 209 Zinnemann, Fred, 182 Žižek, Slavoj, 120 Zucco, George, 176 Zuckerman, Solly, 192 Zukor, Adolph, 12 Screen Classics Screen Classics is a series of critical biographies, film histories, and analytical studies focusing on neglected filmmakers and important screen artists and subjects, from the era of silent cinema to the golden age of Hollywood to the international generation of today Books in the Screen Classics series are intended for scholars and general readers alike The contributing authors are established figures in their respective fields This series also serves the purpose of advancing scholarship on film personalities and themes with ties to Kentucky Series Editor Patrick McGilligan Books in the Series Mae Murray: The Girl with the Bee-Stung Lips Michael G Ankerich Hedy Lamarr: The Most Beautiful Woman in Film Ruth Barton Rex Ingram: Visionary Director of the Silent Screen Ruth Barton Von Sternberg John Baxter Hitchcock’s Partner in Suspense: The Life of Screenwriter Charles Bennett Charles Bennett, edited by John Charles Bennett Ziegfield and His Follies: A Biography of Broadway’s Greatest Producer Cynthia Brideson and Sara Brideson The Marxist and the Movies: A Biography of Paul Jarrico Larry Ceplair Dalton Trumbo: Blacklisted Hollywood Radical Larry Ceplair and Christopher Trumbo Warren Oates: A Wild Life Susan Compo Crane: Sex, Celebrity, and My Father’s Unsolved Murder Robert Crane and Christopher Fryer Jack Nicholson: The Early Years Robert Crane and Christopher Fryer Being Hal Ashby: Life of a Hollywood Rebel Nick Dawson Bruce Dern: A Memoir Bruce Dern with Christopher Fryer and Robert Crane Intrepid Laughter: Preston Sturges and the Movies Andrew Dickos John Gilbert: The Last of the Silent Film Stars Eve Golden Saul Bass: Anatomy of Film Design Jan-Christopher Horak Hitchcock Lost and Found: The Forgotten Films Alain Kerzoncuf and Charles Barr Pola Negri: Hollywood’s First Femme Fatale Mariusz Kotowski Mamoulian: Life on Stage and Screen David Luhrssen Maureen O’Hara: The Biography Aubrey Malone My Life as a Mankiewicz: An Insider’s Journey through Hollywood Tom Mankiewicz and Robert Crane Hawks on Hawks Joseph McBride William Wyler: The Life and Films of Hollywood’s Most Celebrated Director Gabriel Miller Raoul Walsh: The True Adventures of Hollywood’s Legendary Director Marilyn Ann Moss Charles Walters: The Director Who Made Hollywood Dance Brent Phillips Some Like It Wilder: The Life and Controversial Films of Billy Wilder Gene D Phillips Ann Dvorak: Hollywood’s Forgotten Rebel Christina Rice Arthur Penn: American Director Nat Segaloff Claude Rains: An Actor’s Voice David J Skal with Jessica Rains Buzz: The Life and Art of Busby Berkeley Jeffrey Spivak Victor Fleming: An American Movie Master Michael Sragow Hollywood Presents Jules Verne: The Father of Science Fiction on Screen Brian Taves Thomas Ince: Hollywood’s Independent Pioneer Brian Taves Carl Theodor Dreyer and Ordet: My Summer with the Danish Filmmaker Jan Wahl Free ebooks ==> www.Ebook777.com www.Ebook777.com ... Lost and Found www.Ebook777.com Hitchcock Lost and Found The Forgotten Films Alain Kerzoncuf and Charles Barr Foreword by Philip French Free ebooks ==> www.Ebook777.com Due to variations in the. .. foundation for the celebration of Hitchcock’s work in the magazine Cahiers du Cinéma, and in the books by the Cahiers 10 Hitchcock Lost and Found writers and future filmmakers Claude Chabrol and Eric... version, and two others survive in part, including The White Shadow Between them, these items—not only the found material itself but what can be discovered about the films that are still lost allow