T HE A L F R ED HIT C H C OC K E N C Y C LOP E D IA T HE A L F R ED HIT C H C OC K E N C Y C LOP E D IA Stephen Whitty ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2016 by Rowman & Littlefield All rights reserved No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Names: Whitty, Stephen, 1959– author Title: The Alfred Hitchcock encyclopedia / Stephen Whitty Description: Lanham, Maryland ; London : Rowman & Littlefield, 2016 | Includes bibliographical references and index Identifiers: LCCN 2015051217 (print) | LCCN 2016004225 (ebook) | ISBN 9781442251595 (cloth : alk paper) | ISBN 9781442251601 (electronic) Subjects: LCSH: Hitchcock, Alfred, 1899–1980–Encyclopedias Classification: LCC PN1998.3.H58 W55 2016 (print) | LCC PN1998.3.H58 (ebook) | DDC 791.4302/33092–dc23 LC record available at http://lccn.loc.gov/2015051217 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992 Printed in the United States of America To my wife, Jacqueline— my partner in life and art and first, last, and best reader CO N T E NT S Acknowledgments ix Introduction xi A Note on the Text xv Entries A–Z Bibliography 519 Index 521 About the Author 531 n vii A CK N O W L E D G M ENT S E ven a one-man encyclopedia is not a one-man job I owe a great deal to Leslie Halliwell, whose groundbreaking Filmgoer’s Companion showed me more than 40 years ago that it was indeed possible for a single person to undertake a mad task like this, and to David Thompson, whose later A Biographical Dictionary of Film proved that a fact-crammed reference book could still be idiosyncratic and opinionated I never would have begun this project without their early, formidable examples I need to also acknowledge the books and sites that formed the backbone of my own research Donald Spoto’s several works, of course (but particularly his passionate The Dark Side of Genius); Patrick McGilligan’s more measured but also important Alfred Hitchcock: A Life in Darkness and Light; Robin Wood’s seminal work of criti- cism, Hitchcock’s Films; and, of course, the go-to reference book for the director’s own memories, Hitchcock/Truffaut A particularly helpful website is www.the.hitchcock zone.com, which has myriad links to period reviews, news articles, interviews, and documentary transcripts (Other sources can be found in the reference lists to individual entries and in the bibliography.) I would also very much like to thank all the people I interviewed over the last 20 years, sometimes multiple times, about Alfred Hitchcock, the man and the filmmaker—particularly (although not only) Jay Presson Allen, Karen Black, Peter Bogdanovich, Brian De Palma, Bruce Dern, Farley Granger, Norman Lloyd, Shirley MacLaine, Kim Novak, Patricia Hitchcock O’Connell, and Eva Marie Saint They were all generous to a fault, and any faults in this book are my own n ix YOUNG AND INNOCENT n 517 A famous actress and her ex-husband argue ferociously; the next day, her protégée, Robert, finds her on the beach, strangled with the belt to his own lost raincoat The police rapidly decide he’s the murderer, and seeing the case against him—and the incompetent lawyer he’s been assigned— Robert impulsively escapes in hopes of proving his innocence On the run, he sees Erica, the daughter of the chief constable; she had met him at the police station and knows him to be a fugitive but feels sorry for him, and Robert gradually convinces her of his plight He also persuades her to join him on his mission: Find the man who had his raincoat, and he’ll find the real murderer Evading the police (and Erica’s nosy aunt), they eventually track the coat down to a tramp, Old Will, who says a man with a strange twitch gave it to him—although by then its belt was already missing Finding a box of matches from the Grand Hotel in one of the pockets, the three decide to go there in hopes of finding the murderer The police follow them, but just as they are arresting Robert, the drummer in the hotel dance band—who has been increasingly agitated since he saw Old Will appear—collapses, his eye twitching furiously Old Will identifies him as the man who gave him the coat, and Robert is cleared A gentler Hitchcock After the dark espionage thriller SECRET AGENT and the even grimmer SABOTAGE, the director clearly felt he and his audience needed something lighter, so CHARLES BENNETT and other writers were charged with adapting the JOSEPHINE TEY mystery A Shilling for Candles Liberally adapting, too—Tey’s regular hero, Inspector Alan Grant, was completely written out and two minor characters were made the young hero and heroine The tone was determinedly breezy and teen friendly—in fact, Erica, with her widowed father, much-loved roadster, and amateur detective work, seemed modeled on Nancy Drew, the American young-adult heroine then featured in regular best sellers (and whose own popular film series would begin the next year) In some ways, Young and Innocent almost feels like Hitchcock’s apology to his fans for his last two films There is little onscreen violence and no coldly calculated disappointments of an audience’s expectations (In Sabotage, Hitchcock had dared to kill not only a small boy but also a puppy; here, not only is the danger to the two leads minimized, but also the welfare of Erica’s scruffy dog is a constant concern.) There is a momentary bit of suspense when a sinkhole begins to swallow Erica’s car (until, in a sequence that foreshadows NORTH BY NORTHWEST, Robert lifts her to safety), but at no point does the murderer menace either character It is a careful, “tasteful” film That, of course, is not necessarily what Hitchcock had already become famous for, and today the movie can seem especially tame Yet even in this more family-friendly project, the familiar Hitchcock themes poke through Erica is, for all her youth, a maternal figure—easily and naturally acting the MOTHER to her four younger brothers, worrying that Robert hasn’t eaten, practically taking charge and administering first aid when people faint After Hitchcock lost his own mother, these characters would eventually become less lauded (the clueless Midge in VERTIGO), even forbidding, but for now they are still welcome And, of course, the story revolves around what was already a stock situation for him, the character presumed GUILTY until proven innocent, as well as contrasting the roles played badly by his protagonists (the tramp dresses up uncomfortably as a rich man, Robert “disguises” himself by putting on a pair of thick glasses) to the world of professional pretense his antagonist moves in (He plays the drums 518 n YOUNG AND INNOCENT in a blackface dance band; his ex-wife is an actress.) All the world’s a stage, but not all of us are equally proficient players Although Hitchcock was patient with Pilbeam on the set—he was perhaps paternally protective of a young STAR who’d been a child actress in THE MAN WHO KNEW TOO MUCH just three years before—and he praised her performance afterward, she doesn’t shine in the part; there’s something a little washed out about her close-ups, and the editing does her no favors by repeatedly using the same bad reaction shot of her in the sinkhole sequence Derrick de Marney is equally forgettable as the hero, and George Curzon overacts dreadfully as the twitching villain (Only the veteran character actors— Edward Rigby, as the colorful tramp; Mary Clare, as Erica’s nosy aunt; and PERCY MARMONT, as Erica’s disappointed father—add any real interest to the proceedings.) Still, the story moves along briskly, and there are some flashes of signature style—as when the worst parts of the marital quarrel that begins the film are drowned out by crashing thunder or a scream turns into the screech of seagulls And the movie features a crane shot that’s both a dry run for the “key” shot in NOTORIOUS and famous in its own right—starting up high in the Grand Hotel, the camera soars over the crowded lobby and ballroom, passing over the heads of blissful dancers before going closer, closer, closer on the drummer in the band, until only his twitching EYES fill the screen Good natured and good humored, from its punning title (she’s young, he’s innocent) to Hitchcock’s own extended CAMEO as a frustrated photographer, it’s a pleasant trifle And although badly received in the United States (where distributors cut one of its most charming scenes, set at a children’s birthday party, and Time pronounced it “tedious”), it did point back to THE 39 STEPS and the director’s fondness for mixing comedy and suspense— something he would soon indulge to even greater effect in THE LADY VANISHES References Patrick McGilligan, Alfred Hitchcock: A Life in Darkness and Light (New York: HarperCollins, 2003), 194–97; Donald Spoto, The Dark Side of Genius: The Life of Alfred Hitchcock (New York: Da Capo Press, 1999), 163–67; Donald Spoto, Spellbound by Beauty: Alfred Hitchcock and His Leading Ladies (New York: Harmony Books, 2008), 7275; Franỗois Truffaut, Hitchcock/ Truffaut, rev ed (New York: Touchstone, 1985), 111–16 BI BL I O G R A PHY Agee, James Agee on Film vols New York: Grossett Universal Library, 1969 Barr, Charles English Hitchcock Petaluma, CA: Cameron Books, 2002 Baxter, Anne Intermission: A True Story New York: G P Putnam’s Sons, 1976 Behlmer, Rudy, ed Memo from David O Selznick New York: Viking Press, 1972 Bergman, Ingrid, and Alan Burgess My Story New York: Delacorte Press, 1980 Bloch, Robert Psycho New York: Award Books, 1975 Bogdanovich, Peter The Cinema of Alfred Hitchcock New York: Museum of Modern Art Film Library, Doubleday, 1963 ——— Pieces of Time New York: Arbor House, 1973 ——— Who the Devil Made It New York: Alfred A Knopf, 1997 ——— Who the Hell’s in It New York: Knopf, 2004 Buchan, John The Thirty-Nine Steps New York: Popular Library, 1963 Butler, Ivan Horror in the Cinema New York: A S Barnes, 1970 Canning, Victor The Rainbird Pattern New York: Ace Books, 1980 Cohen, Paula Marantz Alfred Hitchcock: The Legacy of Victorianism Lexington: University of Kentucky Press, 1995 Coleman, Herbert The Man Who Knew Hitchcock: A Hollywood Memoir Lanham, MD: Scarecrow Press, 2007 du Maurier, Daphne Rebecca New York: Avon Books, 1979 Falk, Quentin Mr Hitchcock London: Haus, 2007 Fontaine, Joan No Bed of Roses New York: William Morrow, 1978 Gardiner, Dorothy, and Kathrine Sorley, eds Raymond Chandler Speaking Boston: Houghton Mifflin, 1962 Gardner, Gerald The Censorship Papers: Movie Censorship Letters from the Hays Office, 1934–1968 New York: Dodd, Mead, 1987 Gielgud, John Early Stages: An Autobiography San Francisco: Mercury House, 1989 Gottlieb, Sidney, ed Alfred Hitchcock: Interviews Jackson: University Press of Mississippi, 2003 Gram, Martin, Jr., and Patrik Wikstrom The Alfred Hitchcock Presents Companion Whiteford, MD: OTR, 2001 Granger, Farley, with Robert Calhoun Include Me Out: My Life from Goldwyn to Broadway New York: St Martin’s Press, 2007 Greene, Graham The Pleasure Dome: The Collected Film Criticism of Graham Greene London: Oxford University Press, 1980 Griffith, Richard, and Arthur Mayer The Movies Rev ed New York: Simon and Schuster, 1971 Highsmith, Patricia Strangers on a Train Baltimore: Penguin Books, 1974 Hotchner, A E Doris Day: Her Own Story New York: William Morrow, 1975 n 519 520 n BIBLIOGRAPHY Hunter, Evan Me and Hitch London: Faber and Faber, 1997 Kael, Pauline 5001 Nights at the Movies: A Guide from A to Z New York: Holt, Rinehart and Winston, 1982 ——— Reeling New York: Warner Books, 1976 Kracauer, Siegfried From Caligari to Hitler: A Psychological History of the German Film Princeton, NJ: Princeton University Press, 2004 La Bern, Arthur Frenzy Previously published as Goodbye Piccadilly, Farewell Leicester Square New York: Paperback Library, 1972 Laurents, Arthur The Rest of the Story Milwaukee, WI: Applause, 2012 LaValley, Albert, ed Focus on Hitchcock Englewood Cliffs, NJ: Prentice Hall, 1972 Leigh, Janet, with Christopher Nickens Psycho: The Classic Thriller New York: Harmony Books, 1995 McDevitt, Jim, and Eric San Juan A Year of Hitchcock: 52 Weeks with the Master of Suspense Lanham, MD: Scarecrow Press, 2011 McGilligan, Patrick, ed Alfred Hitchcock: A Life in Darkness and Light New York: HarperCollins, 2003 ——— Backstory: Interviews with Screenwriters of the 60s Berkeley: University of California Press, 1997 Moorehead, Caroline Sidney Bernstein: A Biography London: Jonathan Cape, 1984 O’Connell, Pat Hitchcock, and Laurent Bouzereau Alma Hitchcock: The Woman behind the Man New York: Berkeley Trade, 2004 Perry, George The Films of Alfred Hitchcock London: Studio Vista, Dutton, 1970 Rebello, Stephen Alfred Hitchcock and the Making of Psycho New York: HarperPerennial, 1991 Rohmer, Eric, and Claude Chabrol Hitchcock: The First Forty-Four Films Translated by Stanley Hochman New York: Frederick Ungar, 1979 Ryall, Tom Alfred Hitchcock and the British Cinema London: Continuum International, 1996 Sarris, Andrew The American Cinema: Directors and Directions, 1929–1968 New York: Dutton, 1968 Shipman, David, ed Movie Talk: Who Said What about Whom in the Movies New York: St Martin’s Press, 1988 Spoto, Donald The Dark Side of Genius: The Life of Alfred Hitchcock New York: Da Capo Press, 1999 ——— Laurence Olivier: A Biography New York: Harper Paperbacks, 1993 ——— Spellbound by Beauty: Alfred Hitchcock and His Leading Ladies New York: Harmony Books, 2008 Starr, Michael Seth Hiding in Plain Sight: The Secret Life of Raymond Burr Milwaukee, WI: Applause, 2008 Taylor, John Russell Hitch: The Life and Times of Alfred Hitchcock Boston: Da Capo Press, 1996 Thomas, Bob Selznick New York: Pocket Books, 1972 Thomson, David The New Biographical Dictionary of Film New York: Knopf, 2002 Truffaut, Franỗois Hitchcock/Truffaut Rev ed New York: Touchstone, 1985 Twomey, Alfred E., and Arthur F McClure The Versatiles: Supporting Character Players in the Cinema, 1930–1955 New York: Castle Books, 1969 Wiley, Mason, and Damien Bona Inside Oscar 10th anniversary ed New York: Ballantine Books, 1996 Williams, Tom A Mysterious Something in the Light: The Life of Raymond Chandler Chicago: University of Chicago Press, 2013 Wood, Robin Hitchcock’s Films New York: Paperback Library, 1969 Woolrich, Cornell Rear Window and Other Stories New York: Penguin Books, 1994 Wydra, Thilo Grace: A Biography New York: Skyhorse, 2014 I N D EX Academy Awards, 1, 113, 122, 358, 437 adaptations, 1–3 Agee, James, Aherne, Brian, Albertson, Frank, alcohol, 4, 142 The Alfred Hitchcock Hour, 5–6 Alfred Hitchcock Presents, 4–5, 11 Alfred Hitchcock: A Life in Darkness and Light, 4–5, 74, 85, 164, 171, 268, 412 Allen, Jay Presson, 6–7, 117, 163, 182, 220, 257, 262 Allgood, Sara, Always Tell Your Wife, 8, 168, 172 Anderson, Dame Judith, 8, 149, 218, 357 Anderson, Lindsay, 9, 16, 335 Anderson, Maxwell, 248, 483, 611 Andrews, Julie, 9, 10, 296, 419; Torn Curtain, and the making of, 460–63 anecdotes, 10–11 Angel, Heather, 11 Archibald, William, 11–12 Armstrong, Charlotte, 12 “Arthur,” 12 Ashcroft, Dame Peggy, 12, 313, 448 Ashenden, 2, 146, 266, 386 Atterbury, Malcolm, 13 Auber, Brigitte, 5, 13, 85 auteur theory, the, 13, 26, 49–50, 184, 200, 300, 385 Aventure Malgache, 15–16 “Back for Christmas,” 17 Bagdasarian, Ross, 17–18 Baker, Diane, 18–19, 156, 163, 213, 257, 272–74 Balcon, Sir Michael, 19–20, 36, 41, 110, 135, 237, 269–81 Balsam, Martin, 20 “Bang! You’re Dead,” 20–21 Bankhead, Tallulah, 21, 28, 108, 179, 189, 232, 298, 406; Lifeboat, and the making of, 230–33 Banks, Leslie, 21–22, 195, 252, 424 “Banquo’s Chair,” 22 Baring, Norah, 22 Barnes, George, 22–23 Barry, Joan, 23 Barrymore, Ethel, 23, 210 Bass, Saul, 24, 301, 486; Psycho, and the controversy over, 227, 339 Basserman, Albert, 24–25 Bates, Florence, 25 Baxter, Anne, 25–26, 179 Bazin, Andre, 10, 26, 49, 189, 240, 370 Bel Geddes, Barbara, 27, 217, 483–84 Belloc-Lowndes, Marie, 27, 193, 237 Benchley, Robert, 28 Bendix, William, 28 Bennett, Charles, 28–29, 124, 304, 386, 417, 446 Bergman, Ingrid, 4–5, 18, 29–31, 39, 134, 161, 173, 228, 240, 298, 389, 473; Notorious, and the making of, 303–7; Spellbound, and the making of, 408–12; Under Capricorn, and the making of, 472–75 Bernstein, Sidney, 31, 74, 152, 173, 242, 391, 465; Memory of the Camps, and the making of, 269–70; Transatlantic Pictures, and the founding of, 319, 465 Best, Edna, 36, 39, 56, 252, 260 birds, 12, 31–32, 57, 162, 182, 188, 235, 380 The Birds, 32, 33–35, 109, 131, 159, 162–63, 182–83, 276, 302, 306 Black, Karen, 35, 154; Family Plot, and the making of, 112–14 n 521 522 n INDEX black-and-white cinematography, 6, 36, 68, 71, 90, 185, 254, 338 The Blackguard, 36–37 Blackmail, 23, 28, 37, 77, 123, 255, 289, 369, 407 The Blind Man, 38 Bloch, Robert, 38–39, 68, 70, 137, 171, 176, 275, 376 blondes, 10, 18, 29, 39–40, 116, 161, 173, 204, 216, 236–37, 302, 394 Bogdanovich, Peter, 40, 67, 239, 279, 281, 344 Boileau, Pierre, 40, 68, 75, 93, 294–95, 482 bondage, 14, 41, 97–98, 116, 173, 177, 310, 372, 394; The Lodger, as a theme in, 238; Rope, as a theme in, 373–74; The 39 Steps, as a theme in, 446, 448–49 Bon Voyage, 41–42 Boyle, Robert F., 42 The Bramble Bush, 42 “Breakdown,” 42–43 Brisson, Carl, 43, 56, 255, 367 Brook, Clive, 43–44 Browne, Roscoe Lee, 44 Bruce, Nigel, 44–45, 108 Buchan, John, 45, 146, 147, 336, 398, 446, 451– 52 Bumstead, Henry, 45–46 Burks, Robert, 36–46, 173, 174, 301, 463, 469 Burr, Raymond, 46–47, 180, 220; Rear Window, and the making of, 351–55 Cady, Frank, 48 Cahiers du Cinema, 15, 26, 48–50, 63, 128, 177, 240, 370 Calhern, Louis, 50 Calthrop, Donald, 50–51 cameos, 51–54 Cardiff, Jack, 54 Carey, MacDonald, 54–55 Carroll, Leo G., 55, 108, 301, 357 Carroll, Madeleine, 29, 39, 55, 79, 99, 439; Secret Agent, and the making of, 386–88; The 39 Steps, and the making of, 445–49 Cartwright, Veronica, 57 “The Case of Mr Pelham,” 57–58 Catholicism, 58–59; I Confess, as a theme in, 184–86; The Wrong Man, as a theme in, 512–13 censorship, 40, 59–62, 71, 171, 194, 223, 287, 317, 435, 469; Notorious, problems on, 305; Psycho, problems on, 339; Rebecca, problems on, 356; Vertigo, problems on, 484 Chabrol, Claude, 62–63 Champagne, 63–64 Chandler, Raymond, 1, 64–65, 316; Strangers on a Train, and the writing of, 427 Chekhov, Michael, 65–66, 271 Ciannelli, Eduardo, 66 Clift, Montgomery, 26, 66–68, 129, 180, 184, 213, 248, 272, 277; I Confess, and the making of, 183–86 Clouzot, Henri-Georges, 68–69, 93–94, 137, 176, 187, 294, 344, 482 Coburn, Charles, 69 Collier, Constance, 69–70 Collinge, Patricia, 70 color, 36, 54, 70–73, 103, 154, 203, 251, 264, 353, 469 Compson, Betty, 72 Connery, Sean, 7, 19, 72–74, 117, 136, 141, 257, 259, 294 Cook, Whitfield, 73–74, 171, 268, 316, 415, 427 Cooper, Gladys, 74–75 Coppel, Alec, 74, 203, 442; Vertigo, and the writing of, 483 Corey, Wendell, 75 Cotten, Joseph, 54, 75–76, 97, 148, 238, 389, 480 Cox, Jack, 76–77, 216, 255, 367, 488 Crippen, H H., 77–78 Cronyn, Hume, 78, 85, 232, 372, 438 “The Crystal Trench,” 79 Cummings, Bob, 49, 54, 79–80, 161, 219; Dial M for Murder, and the making of, 94–95; Saboteur, and the making of, 381–83 Curtis, Billy, 80 Cutts, Graham, 36, 80–81, 237, 282, 323, 332, 499, 504 Dahl, Roald, 82, 217 Dali, Salvador, 82–84, 270, 410 Dall, John, 84–85, 180 Dano, Royal, 85 The Dark Side of Genius: The Life of Alfred Hitchcock, 4, 85–86, 163, 164, 268, 412, 435 Dawson, Anthony, 86–87 Day, Doris, 39, 53, 83, 87–88, 164, 424; The Man Who Knew Too Much (1956), and the making of, 253–55 death, 88–89 INDEX n 523 De Banzie, Brenda, 89 Denny, Reginald, 89–90 De Palma, Brian, 90–91, 130, 168, 200 Dern, Bruce, 91–92, 419; Family Plot, and the making of, 112–14 Devane, William, 92–93 Les Diaboliques, 93–94 Dial M for Murder, 53, 80, 88, 94–95, 148, 174, 203, 275, 279 Dietrich, Marlene, 95–96 “A Dip in the Pool,” 96 dolly shots, 96–97 domination, 32, 97–98, 106, 131, 142, 180, 243, 431; Notorious, as a theme in, 305–6; Psycho, as a theme in, 341 Donat, Robert, 12, 52, 56, 79, 98–99, 139, 236, 379, 439; The 39 Steps, and the making of, 445–49 Dor, Karin, 99–100, 460 Double Take, 102 doubles, 57, 91, 100–102, 128, 135–36, 166, 466, 499; Shadow of a Doubt, as a theme in, 398; Strangers on a Train, as a theme in, 428–29 Downhill, 70, 102–3, 106, 182, 190, 196, 255, 280, 308 Du Maurier, Daphne, 34, 103–4, 194, 221, 224, 313 Durgnat, Raymond, 104 Easy Virtue, 105–7, 133, 182, 190, 196, 280 Edouart, Farciot, 107 Elstree Calling, 107–8 Emery, John, 108 the English colony, 44, 55, 108–9, 357, 406 Eroica, 109 Esmond, Jill, 109 Evelyn, Judith, 109–10 Expressionism, 19, 37, 106, 110, 118, 133, 219, 237, 280, 289, 404, 432 eye, 23, 38, 82, 106, 111, 130, 237, 290, 335, 456 Family Plot, 35, 45, 71, 92, 112–14, 145, 154, 188, 197, 295 The Farmer’s Wife, 115–16 fetishes, 39, 41, 78, 91, 115–17, 131, 258, 394 The Fighting Generation, 117 film noir, 117–18 Finch, Jon, 118–19, 129, 131 Flamingo Feather, 119 Fleming, Rhonda, 106, 119–20 Fonda, Henry, 120–21, 422; The Wrong Man, and the making of, 510–14 Fontaine, Joan, 3, 8, 25, 39, 113, 121–22, 161, 162, 173, 272, 298, 312; Rebecca, and the making of, 355–58; Suspicion, and the making of, 434–37 food, 31–32, 122–123, 217, 225, 237, 264 Ford, Wallace, 123 Foreign Correspondent, 4, 66, 118, 124–25, 149, 186, 234, 269, 296 Forever and a Day, 125–26 Forsythe, John, 5, 53, 126, 190; Topaz, and the making of, 458–61; The Trouble with Harry, and the making of, 468–70 Foster, Barry, 127 “Four O’Clock,” 127–28 French New Wave, 26, 48–50, 62–63, 128–29, 370, 470–71 Frenzy, 118–19, 127, 128–31, 166, 180, 228, 264, 271, 284, 395 Freud, Sigmund, 131–32 Fulton, John P., 132 Gabel, Martin, 133 Gainsborough Pictures, 133–34 Garmes, Lee, 134–35, 320, 479 Gaumont-British, 135 Gavin, John, 135–36, 339–40 Gein, Ed, 136–37, 171 Gelin, Daniel, 137–38 Geraghty, Carmelita, 138 Gielgud, John, 12, 37, 56, 138–39, 180, 208, 264, 313, 349; Secret Agent, and the making of, 386–88 Gilliat, Sidney, 139–40, 168, 222, 418 The Girl, 140–41 Graham, Winston, 141 Granger, Farley, 141–43, 180, 223, 238, 419; Rope, and the making of, 371–74; Strangers on a Train, and the making of, 426–30 Grant, Cary, 23, 39, 53, 99, 134, 143–45, 173, 180, 213, 226, 272, 293; North by Northwest, and the making of, 299–303; Notorious, and the making of, 303–7; Suspicion, and the making of, 434–37; To Catch a Thief, and the making of, 453–55 Greene, Graham, 3, 45, 125, 145–46, 150, 185, 233, 266, 278, 282 Greenmantle, 147, 446 Greet, Clare, 55, 147, 309 524 n INDEX Griffith, Melanie, 147,164, 262 Guilt, 11, 58–59, 103, 114, 141, 185, 277, 306, 427, 446 Gwenn, Edmund, 125, 149, 404–5 Hall-Davies, Lillian, 115, 150, 367 Hamilton, Patrick, 150–52 Hamlet, 152 Hardwicke, Sir Cedric, 152–53 Harker, Gordon, 153 Harmony Heaven, 153–54 Harris, Barbara, 154–55; Family Plot, and the making of, 112–14 Harrison, Joan, 6, 124, 155–56, 173, 187, 225, 281, 350, 381 Hartley, Mariette, 156–57, 163, 257 Hay, Ian, 157 Hayes, John Michael, 157–58, 174, 196, 205, 247, 298; The Man Who Knew Too Much (1956), and the writing of, 253; Rear Window, and the writing of, 352; To Catch a Thief, and the writing of, 454–55; The Trouble with Harry, and the writing of, 468–69 Head, Edith, 158–59, 161, 400 Hecht, Ben, 61, 160–61, 211, 231, 247, 316, 319; Notorious, and the writing of, 304–5; Spellbound, and the writing of, 409 Hedren, Tippi, 9, 34, 85, 117, 161–65, 178, 182, 246, 296, 441, 457; The Birds, and the making of, 33–35; The Girl, as the subject of, 140–41; Hitchcock’s treatment of, 34, 161–64, 257–58; Marnie, and the making of, 256–60 Helmore, Tom, 165 hero, 165–66 Herrmann, Bernard, 46, 90, 109, 127, 151, 166– 68, 174, 266, 346; The Birds, and the sound design of, 34; North by Northwest, and the scoring of, 301–2; Psycho, and the scoring of, 339; Torn Curtain, and arguments over score for, 462–63; The Trouble with Harry, and the scoring of, 469; Vertigo, and the scoring of, 486; The Wrong Man, and the scoring of, 512 Hicks, Seymour, 168–69 High Anxiety, 169 Highsmith, Patricia, 2–3, 169–70, 427 Hitchcock, Alfred: biographies of, 4–5, 85–86, 178; cameos by, 51–54; Catholicism of, 58–59; fears of, 31–33, 334–35; films about, 140–41, 171–72, 178–79; influence of, 175–77; marital life of, 362–65; public persona of, 11, 170–71; relations with actresses, 29–31, 55–57, 121– 22, 161–65, 203–6; relations with writers, 157–58, 160–61, 181–82; timeline of, 172–74 Hitchcock, Patricia, 42, 53, 58, 76, 122, 145, 174–75, 369, 378, 415 Hitchcock/Truffaut (book), 11, 91, 174, 178, 190, 268, 332, 488 Hitchcock/Truffaut (film), 179–80 Hitchcock’s Films, 177–78 Hodiak, John, 179 Homolka, Oscar, 179 homosexuality, 47, 84, 141–42, 179–80, 223, 290, 302, 372, 395 “The Horse Player,” 181 Hull, Henry, 181 Hunter, Evan, 7, 73, 117, 140, 181–82, 226; The Birds, and the writing of, 34; Marnie, and the writing of, 257 Hunter, Ian, 182 I Confess, 11, 25, 41, 66–67, 148, 184, 183–86, 197, 207, 269, 272 “I Saw the Whole Thing,” 190 identity, 186–87 “Incident at a Corner,” 187 insanity, 137, 148, 187–89 interviews, 189–90 Jack the Ripper, 191–93 Jamaica Inn, 22, 103, 147, 193–95, 209, 221, 255, 297, 311 Jeans, Isabel, 195–96 jokes, 22, 97, 103, 196–97, 208, 242, 272, 309, 340 Jones, Caroline, 197 Jourdan, Louis, 192, 197–98, 297, 319, 391 Juno and the Paycock, 198–99 Kael, Pauline, 200–202, 305 Kafka, Franz, 202–3, 512 Kelly, Grace, 29, 39, 117, 141, 157–58, 174, 201, 203–6, 257, 298; Dial M for Murder, and the making of, 94–95; Rear Window, and the making of, 351–55; To Catch a Thief, and the making of, 453–55 Kendall, Henry, 206–7 killers, 207–8 Knight, Esmond, 208 Knott, Frederick, 208–9 INDEX n 525 Knowles, Bernard, 209 Konstam, Phyllis, 209 Konstantin, Leopoldine, 209–10 Kosleck, Martin, 210–11 Krasna, Norman, 211 Kruger, Alma, 211–12 Kruger, Otto, 212 Kuleshov Effect, 212–13, 249, 271, 279, 340, 344, 353 The Lady Vanishes, 60, 116, 154, 196, 214–17, 235, 259, 309, 359 “Lamb to the Slaughter,” 27, 82, 89, 123, 217 Landau, Martin, 217–18, 301 Landis, Jessie Royce, 218, 284, 301, 455 Lane, Priscilla, 218–19, 382–83, 419 Lang, Fritz, 117–18, 219–20 Latham, Louise, 220 Laughton, Charles, 56, 69, 195–96, 220–22, 280, 311, 312 Launder, Frank, 139, 154, 222 Laurents, Arthur, 142, 180, 222–23, 337, 384; Rope, and the writing of, 372 Lawrence, Gertrude, 223–24 Lee, Canada, 224–25, 231, 421 Lehman, Ernest, 225–26, 298; Family Plot, and the writing of, 112–14; North by Northwest, and the writing of, 300–301; The Short Night, and the writing of, 400–401 Leigh, Janet, 24, 39, 135, 171, 215, 227–28, 272; Psycho, and the making of, 338–42 Leigh-Hunt, Barbara, 130, 228 Leighton, Margaret, 228–29 Leopold, Nathan, and Richard Loeb, 229–30, 372 Lifeboat, 1, 21, 52, 173, 230–33, 262, 269, 318, 421–22 Lloyd, Norman, 6, 27, 49, 85, 96, 133, 167, 233– 34, 337, 382 location filming, 6, 115, 185, 234–35, 251, 253, 285, 463, 511 Lockwood, Margaret, 235–36; The 39 Steps, and the making of, 445–49 Loder, John, 236 The Lodger: A Story of the London Fog, 27, 51, 97–98, 188, 236–39, 277, 289, 308, 395 Lombard, Carole, 211, 239–40, 390, 443; Mr and Mrs Smith, and the making of, 286–87 long takes, 14, 26, 228, 240–41, 373 Lord Camber’s Ladies, 241 Lorre, Peter, 241–43, 379; The Man Who Knew Too Much (1934), and the making of, 251– 52; Secret Agent, and the making of, 386–88 love scenes, 60–61, 88, 243, 306, 394–95 Lukas, Paul, 243–44 Macguffin, 11, 169, 177, 190, 196, 216, 247, 252, 287 MacLaine, Shirley, 126, 177, 245–47, 264; The Trouble with Harry, and the making of, 468–70 MacPhail, Angus, 16, 158, 245, 247–48, 409, 482, 483, 511–12; The Man Who Knew Too Much (1956), and the writing of, 158; The Wrong Man, and the writing of, 511–12 Malden, Karl, 67, 248, 272 male gaze, the, 111, 249–50, 354, 428, 485 Malleson, Miles, 250 Mannheim, Lucie, 251 The Man Who Knew Too Much (1934), 52, 88, 155, 195, 251–52, 260, 283 The Man Who Knew Too Much (1956), 53, 83, 151, 157–58, 253–54, 283, 298, 301 The Manxman, 255–56 Marmont, Percy, 256 Marnie, 46, 53, 72–73, 98, 116, 145, 177, 220, 246, 256–60, 294, 302 Marshall, Herbert, 125, 260–61, 272 Mary, 261–62 Mary Rose, 231, 262, 286, 476, 494 Mason, James, 262–63, 301 Massey, Anna, 130, 263–64 Mate, Rudolph, 264 Mathers, Jerry, 265 Matthews, Jessie, 265 Maugham, Somerset, 2, 74, 146, 265–66, 386 MCA, 266–67, 475–77, 494–95 McCowen, Alec, 267 McCrea, Joel, 4, 52, 125, 219, 267–68 McGilligan, Patrick, 4–5, 13, 29, 154, 164, 171, 268, 412 McIntire, John, 268 Memory of the Camps, 31, 240, 269–70, 298–99, 320 Menzies, William Cameron, 270, 356, 410 Merchant, Vivien, 270–71 method acting, 66–67, 73, 248, 271–73, 296, 297, 314, 447 Miles, Bernard, 273 526 n INDEX Miles, Vera, 6, 34, 161, 174, 187, 273–74, 308, 362, 419, 483; Psycho, and the making of, 338–42; The Wrong Man, and the making of, 510–14 Milland, Ray, 53, 86, 95, 204, 275 Minicotti, Esther, 275–76 mistaken identity, 64, 100, 211, 276–77, 287, 303, 511–12 the Moliere Players, 15–16, 41–42, 277 montage, 11, 48, 97, 114, 163, 212, 240, 278–80, 389 Montagu, Ivor, 81, 135, 238, 241–42, 247, 280, 343 Montgomery, Robert, 281 Moore, Brian, 281–82, 329, 375; Torn Curtain, and the writing of, 461–62 Morton, Michael, 282 mothers, 11, 131, 173, 218, 220, 237, 283–85, 295, 302, 455; The Birds, as a theme in, 33–34; Marnie, as a theme in, 258; Notorious, as a theme in, 305–6; Psycho, as a theme in, 341; Shadow of a Doubt, as a theme in, 397 The Mountain Eagle, 255, 349, 481 Mr and Mrs Smith, 52, 72, 173, 231, 239, 276, 286–87, 318, 431 “Mr Blanchard’s Secret,” 288 “Mrs Bixby and the Colonel’s Coat,” 288 Murder! 22, 43, 51, 77, 172, 250, 260, 288–90, 343, 407 Murnau, F W., 290–91 Nalder, Reggie, 254, 292 Naldi, Nita, 285, 292–94, 366, 419 Napier, Alan, 294 Narcejac, Thomas, 40, 68, 75, 93, 294–95, 482 Natwick, Mildred, 210, 295 Nesbitt, Cathleen, 295–96 Newman, Alfred, 296 Newman, Paul, 9, 10, 296–97, 419 Newton, Robert, 195, 297–98, 319 New York Film Critics Circle, 298 Night Will Fall, 298 No Bail for the Judge, 298–99 Noiret, Phillippe, 299, 459 North by Northwest, 37, 55, 142, 165, 225–26, 249–50, 293, 299–303, 310, 407 Notorious, 18, 26, 52, 123, 134, 143, 173, 210, 240, 283, 303–7, 407 Novak, Kim, 36, 39, 90, 159, 164, 187, 189, 272, 274, 307, 479; Vertigo, and the making of, 481–86 Novello, Ivor, 52, 70, 142, 180, 195, 237, 308, 345; Downhill, and the making of, 102–3; The Lodger: A Story of the London Fog, and the making of, 236–39 Number 13, 147, 308–9 Number 17, 43, 51, 309–10 Oakland, Simon, 311, 340 O’Hara, Maureen, 194–95, 311–13 Olivier, Laurence, 12, 51, 109, 136, 153, 208, 271, 312, 313–14, 399; Rebecca, and the making of, 355–58 Ondra, Anny, 23, 37, 255, 315 “One More Mile to Go,” 315–16 Ormonde, Czenzi, 65, 316, 334; Strangers on a Train, and the writing of, 428 The Paradine Case, 23, 69, 135, 192, 195, 221, 231, 269, 297, 317–20 Paramount, 320–321, 339, 352 Parker, Cecil, 321 Parker, Dorothy, 1, 321–22, 382, 487 The Passionate Adventure, 322–23 Peck, Gregory, 23, 30, 144, 177, 213, 319–20, 323–24, 391 perfect crime, the, 324–25 “The Perfect Crime,” 325–26 Perjury, 326 Perkins, Anthony, 101, 136, 145, 148, 171, 180, 238, 318, 326–27; Psycho, and the making of, 338–42 Piccoli, Michel, 327–28 Pilbeam, Nova, 235, 252, 326, 328–29, 356, 516; The Man Who Knew Too Much (1934), and the making of, 252–53; Young and Innocent, and the making of, 516–18 the plausibles, 117, 329–30 plays within plays, 250, 290, 330–31, 380, 382, 415, 416, 501 The Pleasure Garden, 58, 133, 172, 237, 249, 250, 331–32, 363, 431 Pleshette, Suzanne, 163, 333 “Poison,” 333 police, 10, 172, 200–201, 334–35 politics, 9, 15, 60, 119, 231–32, 335–37 The Prude’s Fall, 337–38 INDEX n 527 Psycho (1960), 14, 32, 59 101–2, 145, 175, 187, 213, 215, 243, 318, 338–42, 420–21 Psycho (1988), 342 psychoanalysis, 188, 342–43, 411 publicity, 10, 11, 134, 151, 176, 184, 189–90, 271, 343–44, 473 pure cinema, 48, 97, 163, 212, 240, 270, 279, 291, 344–46, 484 Quayle, Anthony, 347 Radford, Basil, 216, 348, 469, 496 Rains, Claude, 52, 138, 159, 195, 210, 295, 348– 50; Notorious, and the making of, 303–7 Raphaelson, Samson, 180, 350–51, 394; Suspicion, and writing of, 434–37 Rear Window, 14, 46, 75, 110, 157–58, 196, 201, 207, 231, 351–55 Rebecca, 14, 55, 103–4, 144, 173, 205, 221, 263, 277, 312, 313–14 Redgrave, Michael, 99, 180, 196, 216, 235, 358– 60 remakes by Hitchcock, 87, 253–54, 360 remakes of Hitchcock, 361–62 “Revenge,” 362 Reville, Alma, 58, 122, 203, 231, 268, 349, 362– 65, 394, 483; biographies of, 175; films about, 140–41, 171–72; marital life of, 74, 180, 252, 283, 366; The Paradine Case, work on, 319– 20; The Pleasure Garden, work on, 331–32; Stage Fright, work on, 414–15 Rich and Strange, 23, 43, 173, 206, 256, 365–66, 388 The Ring, 43, 77, 103, 150, 153, 165, 172, 255, 366–68 Ritchard, Cyril, 368–69 Ritter, Thelma, 157, 369–70 Rohmer, Eric, 48–50, 184, 370 Roman, Ruth, 371, 419, 428, 494 Rope, 41, 70, 141–42, 222–23, 269, 279, 371–74, 423–24, 430–31 Rozsa, Miklos, 374–75, 391, 444–45, 452 R.R.R.R., 375 Russell, John L., 6, 46, 375–76 Sabotage, 10, 28, 135, 186, 236, 283, 330, 377–80, 433 Saboteur, 14, 41, 49, 116, 165, 218–19, 258, 279, 381–83 Saint, Eva Marie, 9, 39, 217, 301, 383–84 Sanders, George, 52, 125, 384–85 Sarris, Andrew, 13–14, 200, 385–86 Secret Agent, 2, 138–39, 146, 156, 185, 249, 280, 386–88 Selznick, David O., 76, 84, 103–4, 124, 160, 240, 388–92, 409; Notorious, and the making of, 304–5; The Paradine Case, and the making of, 317–20; Rebecca, and the making of, 355–58; Shadow of a Doubt, and the making of, 396–97; Spellbound, and the making of, 408–10 sets, 392–94 sexuality, 58–59, 95–96, 115–17, 179–81, 257, 394–95, 430, 488–89 Shadow of a Doubt, 42, 70, 123, 126, 188, 207, 243, 396–99, 430, 467, 491 Shaffer, Anthony, 129, 314, 399 Shayne, Konstantin, 399–400 Sherwood, Robert E., 356, 400 The Short Night, 42, 62, 117, 159, 174, 226, 400– 401 Sidney, Sylvia, 279, 379, 401–2 Sim, Alastair, 250, 402–3, 415–16 Simpson, Helen du Guerry, 403 The Skin Game, 43, 109, 149, 173, 209, 360, 404–5, 407 Skirball, Jack, 405 Slezak, Walter, 405–6 Smith, C Aubrey, 108, 406–7 sound, 37, 352–353, 407–8 Spellbound, 3, 30, 55, 84, 123, 160, 257, 304, 408–12 Spoto, Donald, 4, 85–86, 163, 164, 268, 412–13, 435 stabbings, 88–89, 94–95, 191–93, 413 Stafford, Frederick, 413, 460 Stage Fright, 10, 31, 53, 74, 175, 403, 414–16 staircases, 97, 105, 131, 180, 185, 309, 416–17, 425–26 Stannard, Eliot, 115, 331, 367, 417–18 stars, 114, 125, 161, 274, 382, 418–20, 459, 462 Stefano, Joseph, 34, 38, 137, 274, 345, 420–21; Marnie, and the writing of, 257; Psycho, and the writing of, 339 Steinbeck, John, 1, 231, 345, 421–22, 437 Stewart, James, 40, 47, 87, 119, 157, 201, 223, 301, 419, 422–25, 479; The Man Who Knew Too Much (1956), and the making of, 253–55; 528 n INDEX Rear Window, and the making of, 351–55; Rope, and the making of, 371–74; Vertigo, and the making of, 481–86 Story, John Trevor, 425, 468 Stradling, Harry, 425–26 Strangers on a Train, 41, 55, 88–89, 166, 179–80, 238, 283, 316, 378, 426–30 strangulation, 76, 88–89, 94–95, 130, 176, 372– 73, 378, 429, 430–31 Stuart, John, 431 subjective camera, 3, 14, 148, 310, 374, 411, 431–33, 488 Suspense, 433 suspense vs surprise, 11, 186, 379–80, 433–34 Suspicion, 52, 89, 113, 122, 143–44, 196, 277, 416, 434–37 Swerling, Jo, 437 Tandy, Jessica, 78, 163, 179, 438–40 Taylor, John Russell, 4, 85, 140, 412, 440–41, 451 Taylor, Rod, 57, 162, 163, 165, 182, 441 Taylor, Samuel A., 75, 203, 225, 298, 400, 442– 43; Topaz, and the writing of, 459–60; Vertigo, and the writing of, 483 Tearle, Godfrey, 443 Tetzlaff, Ted, 306, 443–44 Tey, Josephine, 444 Theremin, 166, 374, 444–45, 453 The 39 Steps, 14, 28, 79, 98, 165, 186, 209, 250, 361, 439, 445–49 Thomas, Jameson, 449–50 Thompson, Edith, 414, 450–51 Thorndike, Dame Sybil, 415, 451 The Three Hostages, 451–52 Tiomkin, Dmitri, 445, 452–53 To Catch a Thief, 26, 53, 116, 144, 157–58, 234, 277, 283, 453–55 Todd, Ann, 447, 455–56 Todd, Richard, 416, 456–57 Tomasini, George, 341, 457–58, 463 Topaz, 44, 99, 126, 174, 223, 327–28, 413, 458–61 Torn Curtain, 9, 35, 129, 174, 281–82, 296–97, 413, 461–63 trains, 52, 61, 118, 214, 207, 249, 300, 426, 445, 463–65 Transatlantic Pictures, 31, 152, 319, 372, 465, 474 transference, 14, 63, 166, 185, 187, 429, 465–66, 469 Trap for a Solitary Man, 466–67 Travers, Henry, 397, 467 Travers, Linden, 467 Tremayne, Les, 468 The Trouble with Harry, 36, 78, 126, 149, 157– 58, 197, 247, 468–70 Truffaut, Francois, 13–15, 48–50, 105, 154, 178– 79, 189–90, 366, 470–71 Under Capricorn, 9, 52, 71, 129, 223, 240, 241, 269, 465, 472–75, 473 Universal, 262, 339, 396, 382, 459, 462, 475–77, 494–95 Valentine, Joseph, 478 Valli, Alida, 142, 197, 319–20, 478–80 Valli, Virginia, 138, 480 Ventimiglia, Gaetano, 331, 480–81 Vernon, John, 481 Vertigo, 36, 53, 93, 120, 158, 197, 220, 307–8, 424, 433–34, 479, 481–86 Viertel, Peter, 381–82, 486–87 Village of Stars, 487 visual effects, 487–88 voyeurism, 14, 46, 90, 91, 116, 157, 205, 250, 354, 488–89 Walker, Robert, 117, 148, 238, 378, 491–92; Strangers on a Train, and the making of, 426–30 Waltzes from Vienna, 149, 173, 208, 221, 251, 264, 492–93 Warner Bros., 94, 493–94 Wasserman, Lew, 5, 266–67, 321, 352, 401, 459, 475–77, 494–95 Watson, Wylie, 495–96 Waxman, Franz, 320, 352, 496 Wayne, Naunton, 216, 348, 469, 496–97 Webb, Roy, 497 “Wet Saturday,” 498 The White Shadow, 44, 172, 282, 498–99 Whitlock, Albert, 169, 262, 400, 500 Whitty, Dame May, 500–501, 507 Who Killed Cock Robin? 380, 501 Wilder, Thornton, 70, 345, 396–97, 501–2 Wilding, Michael, 96, 229, 502 Williams, Emlyn, 195, 502–3 Williams, John (actor), 17, 70, 95, 299, 503 Williams, John (composer), 114, 503–4 Wolfe, Ian, 382, 504 Woman to Woman, 43, 72, 282, 492, 504–5 Wood, Robin, 177–78, 505 INDEX n 529 Woolf, C(harles) M(oss), 81, 238, 251, 332, 459, 506 Woolrich, Cornell, 155, 157, 352, 361, 506–7 World War II, 5, 7, 15, 117, 126, 231–32, 269– 70, 507–9 The Wreck of the Mary Deare, 509 Wright, Teresa, 54, 70, 491, 509–10; Shadow of a Doubt, and the making of, 396–98 The Wrong Man, 59, 100, 118, 121, 220, 274, 277, 347, 510–14 Wyman, Jane, 53, 415–16, 514 Wyndham Lewis, D B., 514 Young, Robert, 387, 515 Young and Innocent, 28, 97, 135, 173, 279, 328, 444, 516, 516–18 A BO UT T HE AU T HOR Stephen Whitty has a BFA in film from NYU’s Tisch School of the Arts and has been writing for and about films for more than thirty years His prize-winning fiction, essays, and reviews have been published in America and Europe, and he has lectured at NYU, Rutgers, and other universities A two-time chair of the New York Film Critics Circle, he lives in New Jersey n 531 ... Eyre, and the Hitchcockian The Spiral Staircase, among others; although she never worked with Hitchcock again, she did appear in the 1944 version of The Lodger, a new adaptation of the thriller... the peculiar details of how the police finally caught Dr H H CRIPPEN They are interesting anecdotes the first three or four times, but eventually they pall And the more of them he piled up, the. .. roles in the 1932 The Hound of the Baskervilles and, after going to Hollywood, the 1935 The Informer, but her career cooled; she is the maid in SUSPICION and, in LIFEBOAT, the mourning mother Angel