London, AH’s relationship with, 234, 250–75
London County Council School of Marine Engineering and Navigation, 6–7
London Evening News, 261
London Film Society, 207, 258
London in the Twentieth Century (White), 271
London Life, 130
Look, 129–30
Los Angeles Times, 127
Lowndes, Marie Belloc, 40, 41
Lynley, Carol, 282
Macfadden, Bernarr, 119
MacGuffin, AH’s use of, 219, 268
MacLaine, Shirley, 119, 183, 280
MacPhail, Angus, 73
Mad Men (television series), 232
male gaze, 182–85
Malice Aforethought (film), 62
Malice Aforethought (Iles), 62
Maloney, Russell, 10
Mann, Philip, 139
Man Running (Jepson), 173
Mansfield, Richard, 41
Man Who Never Was, The (Montagu), 190
Man Who Knew Too Much, The (1934 film), 14, 34, 45–46, 70, 81, 190, 271
children in, 13–14
London’s influence on, 252, 255, 263
themes in, 45–46, 111–12, 163, 247
Man Who Knew Too Much, The (1956 film), 13, 152, 179, 191, 202, 209, 252, 280
children in, 13–14
Hayes as screenwriter for, 72–73, 274
London’s influence on, 252, 274
themes in, 14, 111–12, 163, 247
Manxman, The (film), 52, 85, 163
Marnie (film), 7, 99, 101, 227, 244, 270
critical response to, 104–7, 109, 184, 245
Hedren in, 21–22, 99–103, 101, 151
style of, 248–49
themes in, 20–22, 105–9, 141, 151, 184, 291
Marnie (Graham), 105
Mary (film), 81
Mary, SS, 88
Mary Rose (Barrie), influence on AH, 1–3, 25
Mason, James, 143
Mastering the Art of French Cooking (Child), 130
Matisse, Henri, 281
Maxwell, John, 52
MCA, 204, 246
McCall’s, 127
McCrea, Joel, 123, 269
McEwen, Todd, 143–45
McGilligan, Patrick, 60, 102, 156–58, 175, 225, 289, 293–95
McKittrick, Casey, 121
Men of the Lightship (film), 47
Men Who Made the Movies, 180
#MeToo movement, 102, 104
Metropolitan Museum of Art, 197
MGM, 192
Michelson, Harold, 242
Midsummer Night’s Dream, A (Shakespeare), 219
Mieris, Willem van, 182–83
Miles, Vera, 95, 141, 163
Miller, D .A., 199–200
Miller, Edwin, 99
Miss Marple (char.), 36
Modleski, Tania, 109
Monroe, Marilyn, 96–97
Montagu, Ewen, 189–90
Montagu, Ivor, 56–58, 81, 189–90, 205–6, 234, 258–59
moors murders, 15
Morfield, June, 94
Morgan, Phillip (char.), 134, 137, 244
gay subtext of, 153–54
Morton, Michael, 84
Motion Picture News, 164
Motion Pictures Production Code, 245
Motion Picture Studio, 61
Mountain Eagle, The (film), xii, 55, 59, 260
Mount Rushmore, 67
Mr. and Mrs. Smith (film), 170, 208
Mrs. Peabody (or Number Thirteen) (unfinished film), 27, 84
Mulvey, Laura, 184
Mumy, Bill, 6
Munson, Audrey, 182
murder:
relationship of creativity to, 39, 43–45, 51, 134
relationship of sex to, 35
Murder! (film), xiin, 25, 81, 155, 166, 185, 217–18, 252
Murnau, F. W., 28, 258
Museum of Modern Art, AH retrospective at, 79
Music to Be Murdered By (Eminem), 45
Muybridge, Eadweard, 182
“My Screen Memories” (Hitchcock), 61
Mystery Writers of America, 72
Nabokov, Vladimir, 79
National Film Theatre, 51
Natwick, Mildred, 219
Neame, Ronald, 52–53, 190
Newman, Paul, 49–50, 148, 209, 255–56
Newton, Charlie (char.), 160–61, 240, 290
Newton, Emma (char.), 160–61
New Yorker, The, 10, 64, 215, 219
New York Times, 34, 35, 72, 105, 107, 120, 136, 140
New York World-Telegram, 192
Niagara (film), 96
Nine till Six (film), 165
No Bail for the Judge (unfinished film), 227
Nocturnal Animals (film), 210
Normand, Mabel, 83
North by Northwest (film), 7, 19, 63, 66–69, 80, 211, 215, 232, 247, 250, 252
crop-duster scene, 192
Grant in, 19, 143–46, 144
homosexual subtext in, 155–56
Mount Rushmore in, 67, 197, 218
Saint in, 142–43, 148
themes in, 34, 190, 270, 290
working titles for, 67
Nosferatu (film), 117, 258
Notorious (film), 97, 118, 207, 211, 219
Bergman in, 91, 92, 109
Grant in, 85, 219
innovative techniques in, 44–45
themes in, 85, 91, 109, 111, 164, 282
Novak, Kim, 78, 94–95, 107, 179
clashes with AH, 95, 142, 151
Novello, Ivor, 155, 234, 260, 284
Nude Descending a Staircase (Duchamp), 182
Number Seventeen (film), 81, 156, 215, 252
Number Thirteen (or Mrs.Peabody)(unfinished film), 27, 84, 265
Nuremberg trials, 48
Oakley, Charles (Uncle Charlie; char.), 160–61, 277, 290
“Oath Against Modernism” (Pope Pius X), 285
O’Casey, Seán, 73, 263
Olivier, Laurence, 82, 273
Olsen, Chris, 13
Olsson, Jan, 124, 127, 129
Once Upon a Midnight (radio program), 62n
Ondra, Anny, 85, 212, 238
“On Murder Considered as One of the Fine Arts” (De Quincey), 41
On the Waterfront (film), 95
Operation Mincemeat, 189–90
Ormonde, Czenzi, 77, 86
Orwell, George, 36, 217
Oscars, see Academy Awards
Our Town (Wilder), 162
Owen, Wilfred, 255
Pageant, 207
Paradine Case, The (film), 109, 133, 163, 179
Paramount, 72, 181, 186, 198, 205, 280
Parker, Cornelia, 196–97
Parker, Dorothy, 86, 233
Pascal, Gabriel, 104
Paul VI, Pope, 285
PBS, 48
Peabody Trust, 265
Peck, Gregory, 20, 109, 133, 241
Peckinpah, Sam, 51
Peele, Jordan, 210–11
Pengallan, Humphrey (char.), 136
Perils of Pauline (film), 108
Perkins, Anthony, 210, 228
Peter Pan (Barrie), 1
Phantom Thread (film), 96–97
Phoenix, Joaquin, 40
Photoplay award, 99
Picasso, Pablo, xiv
Pickford, Mary, 84
Picture of Dorian Gray, The (Wilde), 38
Pilbeam, Nova, 14
Pinter, Harold, 65
Pius X, Pope, 285
Pleasure Garden, The (film), xii, 27, 55, 59, 88, 89, 178, 259–60
lesbian subtext in, 156–57
themes in, 28–29, 184, 281
Poe, Edgar Allen, 11, 154
Poppins, Mary (film), 242n
Preminger, Otto, 95
Pre-Raphaelite Brotherhood, 280
Pride, Margaret, 258
Pritchett, V. S., 71
Private Life of Henry VIII, The (film), 267, 273
producers, AH’s conflicts with, 3, 57, 66, 82, 1
10, 121, 122, 133, 149, 232, 267
propaganda films, of AH, 46–49, 261, 308
Prude’s Fall, The (film), 28
Psycho (Bloch), 29, 38
Psycho (film), 3, 98, 111–12, 178, 197, 218, 226–30, 241, 242, 246, 252
advertising campaign for, 228–30, 232
critical response to, 30, 35, 199, 226–27, 248
Leigh in, 42, 44, 145n
shower scene, 15, 29–31, 35, 37–45, 44, 49–50, 63–64, 140–41, 196, 221
themes in, 20, 22, 49–50, 182–83, 248, 282–84, 291
Psycho (1998 remake of AH film), 17
psychoanalysis, AH’s interest in 22–23
Pudovkin, Vsevolod, 258
Pulitzer Prize, 162
Quintino, 143
Rabwin, Marcella, 104, 128
“Raffles and Miss Blandish” (Orwell), 36
Rainbow Pattern, The (Canning), 65–66
Rainier, Prince of Monaco, 95
Rains, Claude, 85
Randolph, Elsie, 222
Raphaelson, Samson, 123, 156
Rear Window (film), 90, 91, 93, 178, 184–89, 188, 198, 217, 219, 234
color in, 141, 280
copyright dispute over, 64–65
Greenwich Village used as location for, 185, 198–99, 255
screenplay of, 64–65, 71–72
themes in, 108–9, 181–82, 184–87, 201, 255, 292
Rebecca (du Maurier), 81–82
Rebecca (film), 81–82, 87, 97, 108, 133, 192, 218, 239, 266–67, 284
Redgrave, Michael, 207–8
Reduco Obesity Slayer, 111, 122, 124
Reed, Rex, 15
Renfro, Marli, 29
Reville, Alma (wife), 9, 11, 56, 88, 139, 156, 167, 173, 268, 269, 285, 293
as AH’s collaborator, 59–60, 65, 73, 84, 86–89, 97–98, 128, 164, 176–80, 235, 271
AH’s proposal and wedding to, 60, 164, 280, 285
AH’s relationship with, 60, 87–89, 91, 117–18, 131–32, 158, 159–60, 168–70, 176–77, 180, 223–24, 276, 289, 292, 295
childhood of, 58–59
Cook’s relationship with, 174–78, 183
first meeting of AH and, 27, 59
health problems of, 22, 59, 131–32, 179, 180, 276
homelife of AH and, 86–87, 128–32, 147–48, 164–68, 170–72
as influence on films of AH, 165, 166
separate film career of, 58, 164–65, 179
Reville, Lucy, 58
Reville, Matthew, 58
Revolting Rhymes (Dahl), 18
Rich and Strange (Collins), 169–70
Rich and Strange (film), 81, 111–12, 169–70, 222, 233, 252, 254
Richardson, Ralph, 207
Ring, The (film), 52, 234, 236, 252, 284
Ritter, Thelma, 91, 219–20
Robertson, Peggy, 29, 86, 103–4, 146–47, 171, 213
Rohmer, Eric, 54
Roman, Ruth, 209
Romm, May E., 22
Room with a View, A (Forster), 89
Rope (film), 11, 124, 134, 137, 159, 184, 192, 234, 235–36, 255
homosexual context of, 153–54, 155, 177
publicity for, 244
unbroken scenes in, 133–34, 153, 244
Rope (Hamilton), 154
Rose, Helen, 142
Ross, Anita, 84
Rossellini, Roberto, 95
Rothman, William, 106, 109
Roud, Richard, 54–55
Rowlandson, Thomas, 256
Royal Academy of Arts, 280
Royal Academy of Dramatic Arts (RADA), 159, 173
Royal Magazine, 36
Russell, Lillian, 118
Rutland, Mark (char.), 104–7, 109
Sabotage (film), 15–17, 46, 164, 217, 252, 254, 271, 279
critical response to, 16–17
Saboteur (film), 62, 86, 192, 197, 233, 290
Statue of Liberty in, 197
Sacrilege (Deller), 196–97
Said, Edward, 247
Saint, Eva Marie, 34, 95–96, 112, 142–43, 146, 148
St Ignatius College, 5, 225, 278–79, 284, 289, 291
St. Vitus dance (Sydenham’s chorea), 59
Sala, Oskar, 242–43
Salesian College, 5
Salomé (Wilde), 37–38
Sardou, Victorien, 108
Sarris, Andrew, 226–27
Saturday Evening Post, 121
Schreiber, Taft, 62n
Scorsese, Martin, 276–77
Screen Directors Guild, 220
screenwriters, AH’s conflicts with, 64–80, 90
Secret Agent (film), 45–46, 87, 89, 165, 207, 221
Selznick, Daniel, 104
Selznick, David O., 104, 110, 136, 148
AH’s conflicts with, 57, 66, 82, 121, 132, 133, 232, 267
as producer of Rebecca, 81–82, 267
as producer of Spellbound, 22, 232
Selznick, Myron, 62
Selznick International Pictures, 121
Seventeen, 99
Seven Year Itch, The (film), 96
sexism, in film industry, 83–84, 103–4, 106–7, 166, 180
Shadow of a Doubt (film), 32, 37, 74–76, 107, 121–22, 160–63, 172, 191, 239–40, 290
Shaffer, Anthony, 123
Shakespeare, William, 34, 206, 208, 219
Shamley Productions, 246
Shaw, Brandon (char.), 134, 136, 244
gay subtext of, 153–54
Sherwood, Robert, 267
Short Night, The (unfinished film), 106, 180
Shourds, Carol, 159, 241
Sickert, Walter, 42
Siege of Sidney Street, 263
Sight & Sound, 54, 201
silhouette, of AH, xii, xvi, 114–16, 132, 321
Skin Game, The (film), 73, 81, 164, 237, 263
Skin Game, The (Galsworthy), 73, 81
Skot-Hansen, Mogens, 270
Slezak, Walter, 110
Sloan, Jane, 50
Smith, H. Allen, 120
Solitaire (Van Druten), 172
“Sophistication of Violence” (Hitchcock), 41
Spellbound (film), 20, 22, 62, 91, 133, 141, 218, 232, 290
Spielberg, Steven, 190
Split (film), 210
Spoto, Donald, 7, 86, 100, 169, 199, 284, 293
Stage Fright (film), 91, 109, 159, 173, 174, 178, 181, 271
Stannard, Eliot, 64, 69–70
Star Wars (film), 246
Stefano, Joseph, 22
Stein, Gertrude, 62
Steinbeck, John, 76–77, 110
Steinberg, Herb, 213
Stevenson, Robert Louis, 41
Stewart, James, 29, 145, 209, 235, 241
as AH’s idea of maleness, 151–52, 155
as man of reaction, 188–89
in Rear Window, 185–89, 188
in The Man Who Knew Too Much, 13, 14, 152
in Vertigo, 19, 78, 90–91, 94, 142, 187–89, 239
Stoppard, Tom, 65
Story, Jack Trevor, 218, 219
Strange Case of Dr Jekyll and Mr Hyde, The (Stevenson), 41
Strangers on a Train (film), 86, 159, 178, 200, 209, 224
Chandler’s rejected screenplay for, 77–79, 86
gay subtext in, 155
themes in, 37, 282, 290
Strangers on a Train (Highsmith), 77–78
suffragettes, 83
Sullivan, Thomas, 293–95
Susannah and the Elders (van Mieris), 182
Suspense (radio program), 62n
Suspense Stories, 200
Suspicion (film), 32, 112, 123, 282
Svengali (char.), AH compared to, 82, 94
Swerling, Jo, 76
Sydenham’s chorea (St. Vitus dance), 59
Taft, William Howard, 118
Taking of Pelham One Two Three, The (Godey), 69
Tanner, Peter, 47–48
Target for Tonight (film), 47
Tatler, 104
Taxi Driver (film), 276–77
Taylor, John Russell, 8, 24, 25, 100, 119
Taylor, Rod, 21–22
Taylor, Samuel, 65, 70, 137, 204
television, AH in, 62–63, 202–5, 226, 241, 265, 270, 281, 334
see also Alfred Hitchcock Hour, The; Alfred Hitchcock Presents; Alfred Hitchcock Show, The
“Telltale Heart, The” (Poe), 154
Temple, Shirley, 174
Tester, Desmond, 217
Tetrazzini, Luisa, 118
Theatre Arts, 192
themes, of AH’s films, 84
ambiguity, 107
anxiety, 7, 39, 95, 277
class dynamics, 217–18, 263, 264, 269, 274
cross-dressing, 155, 157, 158
disassociation, 24
doppelgängers and doubles, 84, 150, 161, 215
dreams, 18–20, 77, 291
eating and drinking, 112
fears and phobias, 7, 9–10, 37
guilt and shame, 20, 29, 52, 277, 287–91
happy home, destruction of, 161, 163–64
homosexual subtext, 153–58
incest, 23, 161
innocent children, cruelty to, 13–17, 20, 25, 105, 141, 161, 227, 279
juxtaposition of familiar with horrible, 49
male destructiveness, 41, 104–8, 186
married life, 165, 211
mistaken identity, 84, 215
objects, supernatural properties of, 283–84, 292
parents, single, 164
pariahdom, 52
power, 46, 104–7, 109
repressed inner child, 20, 21–22, 105, 141
retribution, 20, 289–92
sacred and profane, 284
sadomasochism, submission and domination, 40, 104–9, 284
senses, unreliable nature of, 111–12
sex, and its relationship to murder, 35, 245
sexual transgression, 23, 29–30, 36, 161, 183–84, 227, 247, 284, 288
social relevance, 80, 244–45, 247, 263–64
time, 16
travel, 7
violence, 27–51, 104–9
voyeurism, 29, 181–89, 201
women, see women, in AH’s films
Thinnes, Roy, 209–10
Thirties, The (Gardiner), 272–73
39 Steps, The (film), 45–46, 89, 118, 223, 235
AH’s alleged abuse of Carrol in, 107–8, 221
London’s influence on, 252, 256, 263
themes in, 247, 252, 256, 263
This Week, 158
Thompson, Edith, 34
Thomson, David, 39, 155
Three Hostages, The (Buchan), 178
“300–Pound Prophet Comes to Hollywood” (Johnston), 121
Times (London), 261
To Catch a Thief (film), 54, 72, 97, 102, 155, 185, 211
AH’s visual technique in, 145, 196, 280–81
Kelly in, 90, 127–28
themes in, 155
Todd, Ann, 133
Todd, Richard, 109
Tomasini, George, 226, 240, 247
Tonight Show, The, 99
Topaz (film), 65, 191, 247, 270
Torn Curtain (film), 15, 49–51, 79, 126, 178, 209, 216, 247, 255–56, 292
Transatlantic Pictures, 133, 159
The Twelve Lives of Alfred Hitchcock Page 43