Book Interview: Grace Kelly: Hollywood Dream Girl

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Publisher: Dey Street Books

Release Date: October 24, 2017

A Glimpse Inside #2

“Mr. Hitchcock taught me everything about cinema. It was thanks to him that I understood that murder scenes should be shot like love scenes and love scenes like murder scenes.” -Grace Kelly

The creative relationship between Grace Kelly and Alfred Hitchcock was one of the most mutually beneficial in the history of cinema. It’s nearly impossible to even discuss the director’s work without mentioning Grace Kelly’s name. However, she was so much more than the master’s temporary muse. No movie star of the 1950s was more beautiful, sophisticated, or glamorous than Grace Kelly. The epitome of elegance, the patrician young blonde from Philadelphia conquered Hollywood and won an Academy Award for Best Actress in just six years, then married a prince in a storybook royal wedding. Today, more than thirty years after her death, Grace Kelly remains an inspiring fashion icon. This book by Jay Jorgensen and Manoah Bowman is being promoted as “the definitive visual biography of Grace Kelly’s unforgettable Hollywood career,” and we are happy to report that this isn’t merely hype. Filled with a dazzling array of photographs (many of which are quite rare), Grace Kelly: Hollywood Dream Girl showcases the legend’s brief yet significant acting career as never before.

Alfred Hitchcock Master is honored to have had the opportunity to interview both Jay Jorgensen and Manoah Bowman about their work, and we are proud to present that interview here for your reading enjoyment.

AHM: Tell us a bit about GRACE KELLY: HOLLYWOOD DREAM GIRL. How is this book different from previous books about the actress’s life?

Manoah Bowman: Thank you for asking. This is a very important question. The answer is in the title — GRACE KELLY: HOLLYWOOD DREAM GIRL. This is the first book to focus on Grace Kelly the actress. Practically every biography and coffee table book splits her life into two equal size sections due to the relatively short time she worked in Hollywood. Often her contribution to the movies gets shortchanged outside of the Hitchcock films so we made an effort to delve not only into these films but also her process as an actress. This book takes a more “behind the scenes” approach than any other book on her has ever attempted. Basically what you are getting is a lot less Monaco and a lot more of the movies.

AHM: I think that the book more than lives up to your intentions. How did the original idea for such a book arise, and what were the biggest challenges in making it a reality?

Manoah Bowman: This is a book I have wanted to do since I saw the Hitchcock reissues in the early 1980’s. Some of those films had been out of circulation for many years and I was particularly impressed by Rear Window. Having only been exposed to Princess Grace at that point I was awestruck by Grace Kelly the movie star, and her eye-popping introduction in that film is burned into my subconscious for life. The greatest challenge in making the book a reality was two-fold. One, finding a publisher that was okay with making the book about her movies and not her time as a real-life princess. And two, finding any photo of her that was previously unpublished. Fans are so hungry for photos of her that there are literally Tumblr pages, Instagram accounts, and Pinterest walls with every clipping, photo, and magazine cover ever taken of her. The fans have infiltrated every photo agency around the world and left virtually no stone unturned. We were fortunate to have a large collection of Grace material between us that we had been archiving for many years prior to the internet so we do have quite a few images unavailable anywhere else…at least in good quality.

AHM: The photographs are really quite remarkable. In fact, some of the publicity stills are better than the films that they were supposed to promote! Which of the eleven films made during her brief career stands as your personal favorite, and why does this film win out over the others?

Manoah Bowman: Rear Window is my personal favorite because it is a virtually perfect film and she is perfect in it. Though I may actually enjoy watching To Catch a Thief more because she seems to be having a better time with the part.

Jay Jorgensen: I think Rear Window is her best film, but I return to To Catch a Thief more often. Grace takes a character for which the audience really shouldn’t have much sympathy, and has us eating out of her hand. While Rear Window may boast a better script, Thief has the more glamorous locations and more opportunities for humor. I think by that time Grace also knew exactly what Hitchcock expected of her, and is a lot more at ease in her role.

AHM: One notices that there is a bit more material in the book about the three films that she made with Alfred Hitchcock than is included for her other films. For example, the section about REAR WINDOW includes an additional essay entitled “Dangerous Female” by Sloan De Forest, the publicity campaign manuals for all three films are included, and there even seems to be a few more photos available for these chapters. Why did you decide to include more material for these films?

Manoah Bowman: This was completely calculated on our part. Not only do we agree that these are the films she is most remembered for today, it is also readily apparent how Alfred Hitchcock and his work continues to amaze and inspire. To make this book appeal to a wider group of fans and scholars we took aim at the Hitchcock crowd as well. Our chapters on these films are more photographically in depth than any other Grace Kelly or Alfred Hitchcock photo book previously published.

AHM: How do you think working with Hitchcock influenced the actress personally, and how did this association change the public’s perception of her? Did this have any effect on the films that she made for different directors?

Jay Jorgensen: I think working with Hitchcock made all the difference. Before Hitchcock, I am not sure that any director had really taken the time to teach Grace how to act specifically for the camera. High Noon had to be shot very quickly because of the budget, and on Mogambo, John Ford was managing an enormous production on location. But Dial ‘M’ for Murder was filmed on one soundstage, and Hitchcock saw that Grace needed a lot of direction and taught her how to modulate her performance. But it was Rear Window that really put Grace on the map in the mind of the public. Grace may have had very definite ideas about the types of roles she wanted to play, and sometimes about her wardrobe, but the script and the director were the blueprints to her performance. It’s why so many people wanted to work with her. There was no temperament on the set. I think it’s a big part of why she won the Oscar over Judy Garland.

AHM: I also wanted to touch upon something that is discussed briefly in the book regarding a performance that she was never able to give. Hitchcock had originally intended to pull Princess Grace out of retirement so that she could star in MARNIE—a role that eventually fell into Tippi Hedren’s lap. What qualities do you think Grace Kelly would’ve brought to the role, and how do you think this would have changed the finished film?

Manoah Bowman: One of the single greatest regrets of my life is that I don’t live in a reality where Grace Kelly played Marnie. Marnie is my favorite Hitchcock film and I can only imagine how I’d love it even more if Grace had gotten to star in it.

Jay Jorgensen: I think just by virtue of the mystery in Marnie hinging on sex, it may have presented some problems for Grace after it was released. But both Grace and Rainier had read the script, and they trusted Hitchcock’s taste. Grace may have brought more of a warmth to the character and made her more sympathetic. But I think Hedren perfectly captured a woman who is cold and doesn’t understand her own motivations.

AHM: The book mentions Grace Kelly’s fondness for practical jokes. It was apparently a trait that she shared with Alec Guinness—but Alfred Hitchcock was also notoriously fond of pulling elaborate practical jokes on people. I couldn’t help but be curious as to whether she and Hitchcock pulled jokes on each other.

Jay Jorgensen: Hitchcock enjoyed telling bawdy stories in front of Grace to try to chip away at her ladylike demeanor. Grace was nonplussed and told him that she’d already heard all those stories when she was growing up at girls’ school.

AHM: Right. I think the book actually mentioned that and discusses her sense of humor. I think that her sense of humor (or appreciation for humor) is why she was able to work with Hitchcock so effectively… Going beyond your interest in her film career, which aspects of Grace Kelly’s life do you find the most interesting?

Jay Jorgensen: For a woman born into wealth, Grace Kelly had an amazing work ethic. It’s tough to imagine now, but things did not come easy for her. She had to really apply herself in sports at school; she worked very hard to overcome speech problems when she became an actress; when she was so unhappy with her performance in High Noon, she sought out one of the best acting teachers in New York; and she listened and learned from every director she worked with—especially Hitchcock. This discipline served her well when she got to Monaco. She could have spent her days only entertaining society ladies, but she worked hard to make Monaco a better place for its residents—especially the poor and the aged. She was an especially compassionate and empathetic person, for someone who could have rested on her wealth and beauty.

AHM: Nicole Kidman portrayed Princess Grace in GRACE OF MONACO—a film about her marriage to Prince Rainier III. I don’t believe that it was well received, but I was wondering what your opinions about that film might be. Have either of you seen the film?

Jay Jorgensen: I don’t know if the problems with that film are specifically in Kidman’s performance. The filmmakers chose to focus on a time in Grace’s life where Monaco was being threatened by a blockade from France, and Grace was also being offered the role in Marnie by Hitchcock. Then they threw in a misplaced intrigue where Princess Antoinette tries to dethrone Rainier, and a fabricated showdown between Grace and de Gaulle, and it’s all a jumbled mess. To me, the real tragedy of Grace’s life was that after serving Monaco so honorably, and raising her children, it appeared that she was just about to get her creative life back when the accident happened. Kidman didn’t try to mimic Grace, and that must have been her conscious choice as an actress. Had the film been historically accurate, or if Kidman had delivered a performance that really evoked Grace, perhaps the film might have had a chance. But Grace’s real life was almost unrecognizable in the film.

AHM: Worse, the changes didn’t result in a dramatically compelling film… How does Grace Kelly’s style differ from other actresses from that period? For example, how would it compare to Audrey Hepburn’s influence on fifties fashion?

Jay Jorgensen: I believe Audrey’s collaboration with Givenchy, beginning with Sabrina, showed she was more forward-thinking in terms of fashion than Grace. Grace was very concerned about appearing as a serious actress in Hollywood, and not a fashion plate. Therefore the “Grace Kelly look” she influenced in the fifties was a more casual or tailored look. However, when Grace began dating designer Oleg Cassini, he convinced her that dressing well off-screen helped display a certain versatility as well. So while Grace was keenly aware of what worked for her onscreen in Rear Window (made in 1954) her off-screen fashion sense was pretty conservative until 1955. But the clothes in Rear Window and To Catch a Thief look as fresh today as when they were designed. That is a tribute not only to Grace but to designer Edith Head, who had to make sure that clothes didn’t appear dated between the time a film was made and the time it was released.

Interview by: Devon Powell

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Book Review: Partners in Suspense

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Publisher: Manchester University Press

Release Date: January 18, 2017

“This book brings together new work and new perspectives on the relationship between Hitchcock and Herrmann. Featuring chapters by leading scholars of Hitchcock’s work, the volume examines the working relationship between the two and the contribution that Herrmann’s work brings to Hitchcock’s idiom, as well as expanding our understanding of how music fits into that body of work. The goal of these analyses is to explore approaches to sound, music, collaborative authorship, and the distinctive contribution that Herrmann brought to Hitchcock’s films. Consequently, the book examines these key works, with particular focus on what Elisabeth Weis called ‘the extra-subjective films’—Vertigo (1958), Psycho (1960), The Birds (1963)—and explores Herrmann’s palpable role in shaping the sonic and musical landscape of Hitchcock’s work, which, the volume argues, has a considerable transformative effect on how we understand Hitchcock’s authorship.

The collection examines the significance, meanings, histories, and enduring legacies of one of film history’s most important partnerships. By engaging with the collaborative work of Hitchcock and Herrmann, the chapters [or essays] in the collection examine the ways in which film directors and composers collaborate, and how this collaboration is experienced in the films themselves. In addition, the collection addresses the continued hierarchization of vision over sound in the conceptualization of cinema and readdresses this balance though the exploration of the work of these two significant figures and their work together during the 1950sand 1960s” K.J. Donnelly and Steven Rawle (Introduction, Partners in Suspense, January 18, 2017)

As this excerpt from the book’s introduction suggests, “Partners in Suspense” is a collection of fourteen scholarly articles about the creative marriage of Bernard Herrmann and Alfred Hitchcock. Although their working relationship would eventually end in divorce, their collaboration lasted over a decade and gave audiences eight films (some of which are considered to be amongst the best ever made). This is a subject that has too often been overlooked, and a book on the subject is long overdue.

The essays included cover a range of subjects with varying degrees of success. A list of the titles should help one determine the subjects discussed in its pages:

Bernard Herrmann: Hitchcock’s Secret Sharer – by: Jack Sullivan

Hitchcock, Music and the Mathematics of Editing – by: Charles Barr

The Anatomy of Aural Suspense in Rope and Vertigo – by: Kevin Clifton

The Therapeutic Power of Music in Hitchcock’s Films – by: Sidney Gottlieb

A Lacanian Take on Herrmann/Hitchcock – by: Royal S. Brown

Portentous Arrangements: Bernard Herrmann and The Man Who Knew Too Much – by: Murray Pomerance

On the Road with Hitchcock and Herrmann: Sound, Music, and the Car Journey in Vertigo (1958) and Psycho (1960) – by: Pasquale Iannone

A Dance to the Music of Herrmann: A Figurative Dance Suite – by: David Cooper

The Sound of The Birds – by: Richard Allen

Musical Romanticism v. The Sexual Aberrations of the Criminal Female: Marnie (1964) – by: K. J. Donnelly

The Murder of Gromek: Theme and Variations – by: Tomas Williams

Mending the Torn Curtain: A Rejected Score’s Place in a Discography – by: Gergely Hubai

The Herrmann-Hitchcock Murder Mysteries: Post-Mortem – by: William H. Rosar

How Could You Possibly be a Hitchcocko-Herrmannian? (Digitally Re-Narrativising Collaborative Authorship) – by: Steven Rawle

Perhaps the most immediate surprise when considering the topics discussed in this collection is the lack of information and analysis about Herrmann’s first collaboration with Hitchcock (The Trouble with Harry). It would seem that their first collaboration would be of special interest, and the book does provide some general information about Lyn Murray’s initial suggestion that the director work with Herrmann (including excerpts from Murray’s personal journal), but the score for The Trouble with Harry is largely ignored. What’s more, the book neglects Herrmann’s wonderful score for the The Wrong Man—which is one of their most interesting collaborations.

Those looking for a biographical account of the Hitchcock/Herrmann relationship will likely be disappointed. What these pages offer is scholarly examination of Herrmann’s music and how his scores affect the finished film. Anecdotal information is only given as a means to contextualize the theoretical analysis or to provide support to the arguments being made. The result is useful (especially to other scholars), but average cinephiles will be less enthusiastic—especially if they do not already have a rudimentary knowledge of music.

Review by: Devon Powell

Book Interview: The Alfred Hitchcock Encyclopedia

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Publisher: Rowman and Littlefield

Release Date: June 09, 2016

A Conversation with Stephen Whitty

Several decades after his last motion picture was produced, Alfred Hitchcock is still regarded by critics and fans alike as one of the masters of cinema. To study the life and films of Alfred Hitchcock is to study the history of cinema. From the silent films of the 1920s to his final feature in 1976, the director’s many films continue to entertain audiences and inspire filmmakers. In The Alfred Hitchcock Encyclopedia, Stephen Whitty provides a detailed overview of the director’s work. This reference volume features in-depth critical entries on each of his major films as well as biographical essays on his most frequent collaborators and discussions of significant themes in his work. For this book, Whitty doesn’t merely draw from the overwhelming pool of scholarship that already exists (though this does seem to be the basis of much of his work). He supplements the already existing information with his own source materials such as interviews he conducted with associates of the director—including screenwriter Jay Presson Allen (Marnie), actresses Eva Marie Saint (North by Northwest) and Kim Novak (Vertigo), actor Farley Granger (Rope; Strangers on a Train), actor and producer Norman Lloyd (Saboteur; Spellbound), and Hitchcock’s daughter Patricia (Stage Fright; Strangers on a Train; Psycho)—among others. Encompassing the entire range of the director’s career, this is a comprehensive overview of cinema’s ultimate showman. A detailed and lively look at the master of suspense, The Alfred Hitchcock Encyclopedia will be of interest to professors, students, and the many fans of the director’s work.

Alfred Hitchcock Master is proud to have secured this exclusive interview with Stephen Whitty, wherein he discusses his excellent book in candid detail.

AHM: Could you describe The Alfred Hitchcock Encyclopedia for our readers? What makes this book stand out amongst the others in your opinion?

SW: The book is pretty much exactly as its title describes it – an A to Z (well, Y, anyway) of hundreds of topics, spread out over 500 illustrated, hardcover pages. Entries range from discussions of Hitchcock themes and obsessions (blondes, voyeurism, and guilt) to analyses of his films and television shows, to biographical essays on his most frequent stars and collaborators.

Unlike most other Hitchcock books, it’s arranged in a way that you can dip in and out at any time – you don’t have to wade through an entire chapter on Hitchcock in the ‘30s, for example, to find out about the making of The 39 Steps. But while you’re reading that entry, you’ll find  keywords that point you to other, stand-alone entries you might want to turn to – on Robert Donat, say, or images of bondage in Hitchcock’s work. So I think it’s a book that’s helpful to both students doing research on a particular film, and film buffs who just want a quick, browsable, entertaining source of information.

After I began writing my book, I did see that there had been another encyclopedia on Hitchcock about a decade ago. I looked at it quickly to see what its approach had been – which seemed to be less personal, more academic than mine – and then put it aside so it wouldn’t influence me in any way. “The Alfred Hitchcock Encyclopedia” is a reference book too, but I wanted it to be very much based on my own experiences – my analysis of his work, my opinions of his stars, and especially my interviews with many of the people he’d worked with over the years. So there’s traditional scholarship here, yes, but also backstage stories of the making of the movies, and insights from and about the people he made them with.

AHM: What gave you the idea to write a Hitchcock themed encyclopedia, and what were the biggest challenges in writing the book?

SW: I had just gotten the latest catalogue from Rowman & Littlefield and saw that they had two similar volumes – encyclopedias on Tim Burton, and the Coen brothers – but nothing on Hitchcock, who I think remains perhaps Hollywood’s most influential, and certainly famous, director. I queried them and they were interested and I went to work.

I was lucky in that I’ve been writing about entertainment for more than 20 years and still had my notes on many Hitchcock colleagues I’ve interviewed over that time, from Kim Novak and Eva Marie Saint to Bruce Dern and Norman Lloyd. And, of course, I have all the major critical studies and biographies that have come out on him. Tracking down copies of some of the films, such as Under Capricorn and Waltzes from Vienna, was a little harder.

The hardest thing was just finding the time to write what’s basically a one-person encyclopedia – I think the final manuscript was over 250,000 words. And then, of course, giving everything a second and third read, and fact-checking everything. My wife was a huge help there.

AHM: Was there any pressure (personal or otherwise) to refrain from including any overt analysis or opinion based information in the book?

SW: No, my experience is as a movie critic and essayist, not a strict historian, so I actually wanted this to be a book that included my own analysis and opinion along with factual information; although I might indicate what other critics have said about a film or performance, and any facts I employ are footnoted, the feelings in this book about Hitchcock and his work are mine. Hopefully, that personal approach will make it more valuable and entertaining to readers.

I suppose the only pressure I put on myself was to be fair. Hitchcock had several contentious and controversial professional relationships during his decades in Hollywood, first with his producer, David O. Selznick, and then with a few of his female stars, particularly Tippi Hedren. Having read a lot of material on the subject, and talked to some of the people involved, personally I’m convinced that Selznick’s involvement actually made several Hitchcock pictures worse, and that Hitchcock’s treatment of Hedren (and some of his other actresses) was harassment, pure and simple. Still, there are people who defend Selznick, and who disbelieve Hedren. I don’t have any doubts about how I feel, but I still tried to present all the known facts as fairly as I could.

AHM: Were there any articles or subjects that couldn’t be included in the book? How did you make the decision as to what was and wasn’t important?

SW: I’m sure there were topics I missed, or that some people will think I didn’t pay enough attention to. For example, although I cover all the TV shows he directed, I didn’t find them as interesting as the films, and devoted only a few lines to most of them; although I cover major collaborators in depth, I don’t touch on every art designer or bit player. On the other hand, some entries I included because I found them personally interesting, even though their connection to Hitchcock was more tenuous (the writer Graham Greene, say, or the critic Pauline Kael). And others became fascinating to me as I looked into their careers, and the more research I did the more their entries expanded; the life of Canada Lee, for example, who is in Lifeboat, could be its own movie. But I don’t think that anyone who is looking for a major Hitchcock topic – whether it’s Rear Window or Cary Grant – will be disappointed.

AHM: Hitchcock scholars seem to fit into two very different categories. The first category seems to embrace the Donald Spoto version of Alfred Hitchcock’s history, and the other group tends to question his scholarship. It is clear that you fit into the first category, and I was hoping that you might want to discuss this.

SW: I remember when the Spoto biography came out in the ‘80s, and it was pretty strongly attacked by the Hitchcock loyalists; when the movie The Girl appeared recently, based partly on another one of Spoto’s books, those criticisms began again. And I can understand that; honestly, as someone who already admired Hitchcock’s films a great deal, I was put off by Spoto’s book at first, too, because I found these stories about the director to be so disappointing. And I think we’ve seen far too many of these posthumous biographies that rip a dead celebrity to shreds once he or she is no longer around to defend themselves.

But even as some of Spoto’s research has been questioned – for example, a story about Hitchcock tormenting a classmate, and one about him playing a mean joke on his daughter, have both pretty much been disproven – other things have been confirmed, or added to. For example, Patrick McGilligan’s biography stands in opposition to a lot of what Spoto asserted – yet McGilligan also turned up an ugly story Spoto didn’t have, of Hitchcock making a pass at Brigitte Auber, from To Catch a Thief.  And other people – Joan Fontaine and Ann Todd, for example – have independently written about Hitchcock’s sometimes cruel or inappropriate behavior. (For example, Diane Baker told me that, on the Marnie set, not only was it clear that Hitchcock was acting oddly with Hedren, but that he’d come into her dressing room and suddenly kissed her.) So even putting Spoto’s book aside for a moment, there seems to be a pattern to Hitchcock’s behavior, particularly in his later years, even if many people didn’t experience or witness it themselves.

There are certainly plenty of things in the Spoto book which people can question – they happened years ago, we’re often only hearing one person’s side, memories can be faulty. (And, as a longtime journalist, I know that sometimes people are misquoted – and also that sometimes, seeing their quotes accurately repeated in print, some people suddenly have second thoughts and try to deny them.) You can never be sure you’re getting the whole story. But some of this is true of the McGilligan book too, I think, which talks about this vague, quasi-affair Alma Reville is supposed to have had with a screenwriter. It’s true of Patricia Hitchcock’s own book, which portrays an almost too-perfect family and home life (along with her mother’s favorite recipes!) And it’s certainly true of the movie Hitchcock which simply, blatantly made things up. But all in all I think the Spoto book is pretty solid. You can dispute individual things in it, but I feel it’s credible.

Psycho

“I love the sheer audacity of it – the way he sets up, and then deliberately confounds the audience’s narrative expectations at every turn. You like this heroine? Well, she’s dead now…” -Stephen Whitty

AHM: When did you first become interested in Alfred Hitchcock’s work, and what instigated the interest?

SW: I was a movie fan from a very early age, but Hitchcock was perhaps the first director I was truly aware of – his show was still on TV when I was very small, and of course he introduced each episode. So I was aware of him as a person and the more I saw his films, the more I became aware of him as an artist – seeing movies like The Birds, and North by Northwest and Psycho and realizing it was the same director behind all of them. By the time I was 11 or 12, I was a real movie buff, and had caught up with his earlier films – and “Hitchcock/Truffaut” and, later, “Hitchcock’s Films” by Robin Wood were enormous influences which I read over and over. The Truffaut book was particularly crucial, because in it Hitchcock really explains why he did something – why he framed something a particular way, the importance of a certain juxtaposition of shots. It’s not just Hitchcock on Hitchcock – it’s Hitchcock on film itself.

AHM: What is your favorite Alfred Hitchcock film, and why is this film your favorite?

SW: For the longest time, my favorite film of his was Psycho. I love the sheer audacity of it – the way he sets up, and then deliberately confounds the audience’s narrative expectations at every turn. You like this heroine? Well, she’s dead now. Oh, you’re interested in this private detective? Yes, well we’re going to kill him off, too. Everything – the camera work, the editing, and the music – feels 20 years ahead of its time. Lately, though, I feel myself going back more and more to Vertigo. It’s such a melancholy movie, so wrapped up in disappointment and defeat – I hope it’s not a bad sign that that’s becoming my favorite!

AHM: Do you have a least favorite Hitchcock film? What is it and why don’t you enjoy the film?

SW: I was hoping when I started this book and began re-watching all his movies that I’d have an epiphany, and suddenly reclaim one of his films as a lost masterpiece but, unfortunately, I really can’t. I’d love to say the majority opinion is wrong, but, I’m sorry – Waltzes from Vienna is still a bad movie. So is Topaz. There are always moments, in any Hitchcock movie worth your time – there’s one gorgeous shot in Topaz, when the woman is killed — but I’d say those two are my least favorite of his.

AHM: If you could bring Alfred Hitchcock back to life in order to complete one of his unfinished projects, which of these projects would you have him complete? Why would you choose this particular project?

SW: He himself so yearned to do the J.M. Barrie play “Mary Rose” I’d love to see him do  that, but mostly for his sake; the story doesn’t sound like my cup of tea, personally! But it was a film he wanted to do for decades, so clearly there was something in this story of a magical island that moved him. I’d love to see it and find out what.

AHM: There seems to be a rather unfortunate tendency among critics to assume that because Hitchcock’s films do not seem to have any overt political messages, that these films have nothing to say. I disagree. I think that his films hold a mirror up to mankind’s darker nature while asking some very pertinent questions about it. This can be every bit as important as some topical political theme. What are your thoughts on this?

SW: Well, first of all, I agree with you that his films do have a deeper, darker and perhaps more universal interest than topical concerns. Look at what Psycho is really sardonically saying about motherhood, and our duties to our parents. Or what Vertigo and Notorious reveal about unhealthy relationships. A “good” progressive movie like Guess Who’s Coming to Dinner? has dated. Shadow of a Doubt never will.

But you know, I also think Hitchcock is political. You examine his films, from at least The 39 Steps on, and you’ll see that the villain is almost always a wealthy, powerful authority figure; the heroes are usually ex-soldiers, teachers, reporters, middle-class professionals. The top spies and traitors in Saboteur are American millionaires who’ve embraced fascism; the hero is a factory worker. In Lifeboat, who are the survivors who are first taken in by the Nazi? The rich. Who are the ones who are suspicious of him? The working class. Who alone refuses to participate in their eventual mob justice? The black man.

And you know personally – quietly – when McCarthyism came, Hitchcock helped blacklisted people out with jobs. Norman Lloyd credited him with giving him back his career by asking him to help produce his TV show. Hitchcock went out of his way to hire other people for that show who’d been having trouble getting work, too, like Paul Henreid. So he wasn’t an obvious progressive in the way, say, Stanley Kramer was, but he was certainly conscious, and concerned.

That doesn’t mean I like Hitchcock because he’s political; I’d love his work even if it weren’t. But to assume that this filmmaker didn’t have a very strong feeling about class and power is a mistake. Just because he was “the Master of Suspense” doesn’t mean he wasn’t thinking about, and making stories about, a thousand other things.

 AHM: At the risk of cribbing a question from Robin Wood, I feel compelled to ask: Why should people take Hitchcock seriously?

SW: First of all, I think, there’s the filmmaking itself. He really was the consummate director, and a visual genius; perhaps D.W. Griffith gave us film’s essential grammar, but Hitchcock turned it into an entire, sophisticated language. The clarity of his editing, the impact of his composition, and the amount of narrative and thematic detail he was able to pack into a single image – he’s influenced generations and if we’re lucky will influence generations more.

But also, I think his films deal with serious themes. I think there used to be a certain bias in the underestimation of Hitchcock; after all, his best movies were often romantic mysteries, with female leads. How could they possibly be as important as the war movies and Westerns with big male stars directed by Ford and Hawks and Huston?

I love those films too, of course. But I think the fact that Hitchcock’s films weren’t typically macho movies meant that Hollywood, and many male critics, undervalued them for a long time.  And if you really look at his films, you’ll see that they’re about some extraordinarily big issues – guilt, sin, sexuality, trust.

And he himself is fascinating. I mean, I think the real question these days might not be “Why should we take Hitchcock seriously?” but “Which Hitchcock should we take seriously?”  Is it the sexist who victimized women on screen, or the feminist who decried that victimization? Is it the showman who made commercial blockbusters, or the artist who made risky personal films? And the answer to both is – yes. He was a complicated man — and his films are at least as complex as he was.

Vertigo

“It’s such a melancholy movie, so wrapped up in disappointment and defeat – I hope it’s not a bad sign that that’s becoming my favorite!” -Stephen Whitty

Interview by: Devon Powell

[Note: Some of the opinions expressed in this interview are not necessarily shared by Alfred Hitchcock Master. Please be respectful to others in your comments if you wish to dispute any of these opinions. This is a friendly community.]

Book Review: Hidden Hitchcock

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Publisher: The University of Chicago Press

Release Date: August 1, 2016

“It is my project here to trace a different, more devious rout taken by the surplus scrutiny that Hitchcock mobilizes in us. In contrast to the games that he is known to play with his Pavlovianly [sic] trained mass audience, I postulate a game he would be playing with that absurdly, pointlessly watchful spectator who dwells within us all, but whom, as members of a mass audience, or as critics in loyal alignment with it, we mostly put on lockdown; and whom I call the Too-Close Viewer. In this game, and for this viewer alone, Hitchcock would cultivate, alongside his manifest style with its hyper-legible images, a secret style that sows these images with radical duplicity. The type of duplicity to which this book gives emblematic pride of place is the hidden picture, in which a strongly narrativized [sic] image has been fashioned to conceal something that – if ever seen – would not enhance its coherence, but explode it. Imagine a small continuity error made on purpose, or a Hitchcock cameo fashioned so as not to be seen or a narrative image secretly doubling for a figure of speech in the manner of a charade, and you will have anticipated three key subtypes of Hitchcock’s hidden picturing. I take all such hidden pictures as sporadic but insistent marks of a perverse counter narrative in Hitchcock that for no reason – or for no good enough reason – takes the viewer out of the story and out of the social compact its telling presupposes. Into what is hard to say. Structurally, the hidden pictures resist being integrated into the narrative or any ostensible intentionality; and whatever we might say about any one of them as a species of content falls markedly short of accounting for their enigma as a recurring form of Hitchcock’s film-writing. It is as though, at the heart of the manifest style, there pulsed an irregular extra beat, the surreptitious ‘murmur’ of its undoing that only the Too-Close Viewer could apprehend…” –D.A. Miller (Hidden Hitchcock, Preview, 2016)

Miller’s thesis sounded somewhat questionable upon reading the first pages of his Preview (or introduction) chapter in Hidden Hitchcock. It felt as if the following chapters would be filled with what could only be over-reaching guess-work written in the wake of too many other questionable theories about Hitchcock’s work. Luckily, this is only partly true. There certainly are a few unseen visual anomalies in Alfred Hitchcock’s work, and there are quite a few of these mentioned in Hidden Hitchcock that are unquestionably present on the screen. (This reviewer spotted some of them before reading Miller’s text.) As a quick example, I call to the reader’s attention a certain hidden cameo that alert viewers can see during the opening train sequence of Strangers on a Train:

“…We are unlikely, therefore, to pay attention to a small detail that emerges at the very moment when the suddenly upraised camera gives Guy and Bruno their first full registration. This is the book that Guy is holding, his train reading; on its back cover is the face of Alfred Hitchcock, who is thus visible, if not actually seen, eight minutes before what we commonly take as his appearance. There is no doubt about it we get several more views of this book—the front cover as well as the back, and the spine too—and though no one has ever noticed it, I did not find it impossible to identify. It is ‘Alfred Hitchcock’s Fireside Book of Suspense,a collection of mystery stories, published by Simon and Schuster in 1947, that Hitchcock edited, annotated, and prefaced with an essay called ‘The Quality of Suspense…’-D.A. Miller (Hidden Hitchcock, Hidden Pictures, 2016)

While this discovery wasn’t particularly surprising to this reviewer, having spotted Hitchcock’s appearance on this book several years prior to reading Miller’s thesis, this and a few other examples validate the possibility that some of his other discoveries could be legitimate as well. (There wasn’t time to go through the films discussed and analyze each one.) However, some of his theories as to what these Hitchcock appearances, continuity errors, and narrative images (or “charades”) actually mean could easily be disputed. The nature of film theory is that it is and will always remain theory. As a matter of fact, some of Miller’s discoveries cannot be proven to be intentional decisions made by Hitchcock. Certain continuity errors that have been brought to the reader’s attention might very easily be errors (every film has them).

It is particularly interesting that Miller has narrowed his focus to merely a handful of moments that can be found in three of the director’s films (with the exception of a moment in Murder that was analyzed in the Preview chapter):

“…Accordingly, I am at liberty to worship him in any of his fifty-two manifestations; there simply are no wrong choices. And yet, while forms of hidden picturing are lying all over the place in Hitchcock, the impetus for wanting to write on them came almost entirely from the three films I treat in this book: Strangers on a Train, Rope, and The Wrong Man. Why these films and not others? To anyone not myself, who was galvanized by it, my archive must appear, if not exactly marginal, a bit “off,” drawing on Hitchcock’s greatest period (the long 50s) by stopping just before Vertigo and the other universally acknowledged masterpieces in its wake… These films seemed to choose me; by whatever fatal attraction, they alone laid the traps I fell into with the sufficiently catalyzing thud.” –D.A. Miller (Hidden Hitchcock, Preview, 2016)

It is nice that Miller has chosen to focus on three films that deserve more attention, and this is especially true of The Wrong Man. Too little is written about this underappreciated film, and it is nice to that Miller has seen fit to include it here. There is a particular scene in this film that I look forward to reviewing in order to test one of Miller’s discoveries. It might not be essential reading for casual film viewers, but Hidden Hitchcock has the power to inspire further (and closer) viewing of Hitchcock’s work, and it is certainly worth recommending to scholars and fans for this reason alone.

Review by: Devon Powell

 

 

 

Book Review: Hitchcock Lost and Found: The Forgotten Films

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Publisher: The University Press of Kentucky

Release Date: March 6, 2015

“Our aim has been to examine successive stages of Hitchcock’s career in a level-headed way, finding out as much as possible about the material from his early years in the industry that still remains lost and providing solid data about a wider range of lost or neglected or otherwise problematic material…

…Most of our research has come to focus on three periods, the first parts of three successive decades: the apprenticeship of the early 1920s; the unstable period of the early 1930s, involving a response to the new technologies of synchronized sound and of primitive television; and the early 1940s, during which Hitchcock did a wide range of topical war-effort work on both sides of the Atlantic in the margins of his Hollywood features…” –Alain Kerzoncuf and Charles Barr (Introduction)

While recent books and articles discussing Alfred Hitchcock’s work tend to focus on the production and philosophy of his iconic Hollywood-era films like Notorious (1946) and Vertigo (1958), Hitchcock Lost and Found moves beyond these seminal works to explore forgotten, incomplete, lost, and recovered productions from all stages of his career, including his early years in Britain. Authors Alain Kerzoncuf and Charles Barr highlight Hitchcock’s neglected works, including various films and television productions that supplement the critical attention already conferred on his feature films.

“We do not spend time on any of the landmark films like Rear Window or The Birds, or give a full account of Hitchcock’s career. We focus instead on periods and productions that have hitherto been obscure, in the belief that, given his iconic status, any new information on Hitchcock is likely to be of interest, and that it is precisely the obscure elements, and the periods of struggle, that are of crucial importance in helping us to get a fresher and fuller understanding of just how Hitchcock came to achieve his very special status in film history.” –Alain Kerzoncuf and Charles Barr

They also explore the director’s career during World War II, when he continued making high-profile features while also committing himself to a number of short war-effort projects on both sides of the Atlantic. Focusing on a range of forgotten but fascinating projects spanning five decades, Hitchcock Lost and Found offers a new, fuller perspective on the filmmaker’s career and achievements.

This might seem to some fans to be of marginal interest. After all, most of these films haven’t been widely seen by contemporary audiences. However, this book isn’t simply a useful tool for the Hitchcock scholar; it is a fascinating text for anyone the least bit interested in detailed ‘behind the scenes’ information about this director’s fascinating career. The obscurity of most of the films discussed only adds interest to an already enjoyable subject.

The depth of Kerzoncuf and Barr’s research will surprise many Hitchcock enthusiasts. The knowledge that they provide goes much deeper than anyone might expect. There is detailed information from many documented sources to support the analysis of each film discussed in the book. This level of detail is rare even in texts about the director’s more popular work.

This detail is organized into four basic units: “Before The Pleasure Garden: 1920-1925,” “The Early 1930s,” “The War Years,” and “After the War.” The first of these units focuses on Alfred Hitchcock’s apprentice years in the industry as it details each of the films that Hitchcock worked on in some capacity. It analyzes what function Hitchcock served (or likely served) on each of the films, and discusses how the work might have influenced the director (or how Hitchcock might have influenced the work). This is really no small task, and one finds themselves almost immediately intrigued.

“The Early 1930s” might be this reviewer’s personal favorite unit. Here readers are guided through the torrid transitional era when British studios were scrambling to keep up with the new technological advancement of sound. Many of these films are reasonably well known (Blackmail, Juno and the Paycock, Murder), but have elements that have gone missing. New discoveries are revealed that enhance ones understanding of how these films fit into the context of Hitchcock’s career. There is also a reasonably in-depth comparison of Murder to its German sister, Mary that should interest any serious Hitchcock fan. This particular unit corrects quite a lot of previously published misinformation, and adds quite a bit of detail to the general knowledge that has already been revealed about these films. Other films from this period have been neglected by scholars. For example, Elstree Calling is finally discussed in a comprehensive manner. Kerzoncuf and Barr use documented information to discuss Hitchcock’s role in the creation of this film. This segment is especially interesting, because Hitchcock was never particularly interested in commenting on this particular film.

“The War Years” is also enlightening in its discussion of Alfred Hitchcock’s participation in the creation of a number of wartime propaganda efforts in the early 1940s. Many fans are already quite aware that the director made two French propaganda shorts for the British Ministry of Information (Bon Voyage and Aventure Malgache), and both shorts are actually available on home video. However, these films were unavailable for a great many years, and a comprehensive study of the creation of these shorts has never been adequately achieved. Kerzoncuf and Barr remedy this by offering a wealth of documented knowledge that is supplemented by interviews. The most significant interview for this section was with Janique Joelle, who played a pivotal role in Bon Voyage. Joelle provides an extremely lucid and detailed account of working with the director on this short. It is one of the book’s many highlights, and is certain to delight fans and scholars alike. However, the book has much more ground to cover. The authors give an account of every known wartime project that the director worked on, including the abandoned documentary about the Nazi concentration camps (usually referred to as Memory of the Camps).

“After the War” concentrates on a number of forgotten productions that Alfred Hitchcock appeared in between 1959 and 1969. Two of these efforts were “public service” efforts, and Hitchcock’s participation was mainly to lend his bankable name and image to these productions as a form of charity. The most interesting of these was Tactic (1959). This live television program was essentially a public service announcement concerning cancer diagnosis. To reveal further information here would rob you of the enjoyable experience of reading the more detailed account that appears in this excellent new text.

Just when everyone thought that the subject of Alfred Hitchcock had been picked clean to the bone, we are offered this incredibly enlightening effort. Alain Kerzoncuf and Charles Barr have given fans and scholars an incredible gift. Their original research and lucid writing makes for an enjoyable reading experience. Hitchcock Lost and Found: The Forgotten Films is extremely easy to recommend without any qualifiers.

Review by: Devon Powell

Book Review: Hitchcock’s Stars: Alfred Hitchcock and the Hollywood Studio System

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Publisher: Rowman & Littlefield

Release Date: September 11, 2014

“Rarely when authors talk about Hitchcock’s filmmaking team do they address the contributions of his actors. There is little or no serious attention paid to them or any in-depth study of their contributions to his films… While actors are often the focus of the gossip surrounding Hitchcock’s life, the contributions and performances given are rarely approached with any seriousness…

…The memorable statement on livestock is an ironic one considering just how many iconic performances by some of Hollywood’s greatest stars he directed.” –Lesley L.Coffin (Introduction to “Hitchcock’s Stars”)

Hitchcock’s Stars: Alfred Hitchcock and the Hollywood Studio System tackles a topic that is rarely discussed in any amount of detail. Coffin’s text attempts to shed new light on Hitchcock’s method of using actors (or “stars”) in interesting ways throughout his career in Hollywood. Each chapter covers a different film. The early British period is ignored entirely, instead focusing only on the director’s career in the Hollywood studio system (1940-1976). Each of the director’s films from this period is discussed, with the notable exceptions being Topaz and Frenzy.

Coffin claims that she excludes these films because they weren’t made in American studios, and were shot outside of America (using foreign actors). This leads us to one of the book’s major problems. Her claim that Torn Curtain was Hitchcock’s final film for Universal is simply incorrect. Topaz would have never been made if Universal had not urged Hitchcock to make the film (instead of the un-produced Kaleidoscope/Frenzy project). It was very much a “Hollywood” production. While there was indeed a great deal of location work; some of this location work was in America. A good deal of work was also done in the studio. Frenzy was also produced for Universal (though it was shot in London with a British cast and crew). There are many other factual errors in the book that mar the text. This issue usually stems from her chosen sources. However, at times Coffin uses conjecture presented as fact. This is rather unfortunate, because her writing is fluid and enjoyable.

Many of the interesting discoveries found within the text might very well be true, but they come from “gossip columns” and similar sources from the period. These columns are interesting, but often misleading. Studios often fed false information to columnists (such as Hedda Hopper and Louella Parsons). This gave the studio free publicity, and allowed them to keep the actual details from the public. It was also common for these columnists to invent information when sources couldn’t give them anything to write about. This means that some of these interesting tidbits of information might or might not be true. Coffin never questions the validity of her sources (or attempts to back them up with a second source). This is a small complaint, but the unquestioning reader may be led astray by some of this information.

Coffin’s knowledge of Hitchcock seems to stem mostly from texts by Donald Spoto. Because she never questions the validity of these sources (despite the fact that some of her sources directly contradict Spoto), her thesis is led astray. There are times that her own preoccupations overwhelm a wealth of other information that is never addressed. This means that the reader never has an objective view of the subject being discussed. (To be fair, this approach is almost certainly intentional.)

There is a lot to like about Coffin’s text, and the book was a noble undertaking. It is a very enjoyable read, and it is certainly nice to see that this particular topic is finally receiving a book-length treatment. It simply falls short of being absolutely “essential.”

Review by: Devon Powell

Book Review: The Making of Hitchcock’s The Birds

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Publisher: Kamera Books

Release Date: September 1, 2013

Those who have read Tony Lee Moral’s “Hitchcock and the Making of Marnie” will not be surprised to hear that his book about the making of The Birds stands as one of the better books about the creation of a single Hitchcock film. Moral covers his subject in exhaustive detail. The book begins with the genesis of Daphne du Maurier’s short story and works its way through the film’s release. Every stage of the film’s production is given equal attention using files from the actual production that are held at the Margaret Herrick Library, archival articles and interviews, personal interviews, previously published books on the director’s work, and other sources. Moral’s work will serve both the film scholar and the casual fan in equal measure.

One is especially appreciative of Moral’s understanding that it isn’t always wise to accept everything one hears or reads. He seems to question certain stories and comments made from individuals involved with the project. He often raises questions about the validity of some of the information he presents instead of accepting it at face value simply because it would make for an interesting story (or support an agenda). Moral makes an honest attempt to present multiple perspectives in a manner that leaves the conclusions up in the air for the reader to sort out. This is a very responsible approach to scholarship, and one cannot say this about a lot of texts that focus on Hitchcock.

Review by: Devon Powell

Offbeat Book Review: The Making of ‘Gone with the Wind’

The Making of ‘Gone with the Wind’Publisher: University of Texas Press

Release Date: September 1, 2014

Cinemaphiles have grown to expect certain things from “making of” texts. They expect the book to be a comprehensive and well researched account of a film’s production. They also expect a few photos to be found hidden throughout the text of the book. If the book meets these basic criteria, the reader is usually satisfied. However, it is a rare event when a book exceeds these basic requirements. Steve Wilson’s “The Making of ‘Gone with the Wind’” is such a book.

The book's elegant visual presentation is evident from the very first page.

The book’s elegant visual presentation is evident from the very first page.

Gone With The Wind is one of the most popular movies of all time. To commemorate its seventy-fifth anniversary in 2014, “The Making of ‘Gone With The Wind’” presents more than 600 items from the archives of David O. Selznick (the film’s producer) and his business partner, John Hay “Jock” Whitney. These items are housed at the Harry Ransom Center at The University of Texas at Austin. Steve Wilson is the curator of the film collection at the Harry Ransom Center. These rarely seen materials (which are also being featured in a major 2014 exhibition at the Ransom Center) offer fans and film historians alike a must-have behind-the-camera view of the production of this classic.

Production drawings are only one of the items of interest that can be found in this compelling book.

Production drawings are only one of the items of interest that can be found in this compelling book.

Before a single frame of film was shot, Gone With The Wind was embroiled in controversy. There were serious concerns about how the film would depict race and violence in the Old South during the Civil War and Reconstruction. While Clark Gable was almost everyone’s choice to play Rhett Butler, there was no clear favorite for Scarlett O’Hara. And then there was the huge challenge of turning Margaret Mitchell’s Pulitzer Prize–winning epic into a manageable screenplay and producing it at a reasonable cost. “The Making of ‘Gone with the Wind’” tells these and other surprising stories with fascinating items from the Selznick archive, including on-set photographs, storyboards, correspondence and fan mail, production records, audition footage, gowns worn by Vivien Leigh as Scarlett, and Selznick’s own notoriously detailed memos.

Production documents are often shown along with the beautiful vintage photos, and they are fascinating to read.

Production documents are often shown along with the beautiful vintage photos, and they are fascinating to read.

This reviewer has never come across a more perfect book about the creation of a film. Wilson’s book goes beyond an incredibly comprehensive text and manages to be visually spectacular. Many people would call it a “coffee table book,” but these books rarely provides the reader with such a wealth of information.

Costume and make-up tests add to the book's interest as well.

Costume and make-up tests add to the book’s interest as well.

This book is essential for fans of Gone with the Wind and film historians alike. It sets a new standard for books of its kind. One can only hope that other publications rise to these standards.

Review by: Devon Powell

Book Review: The Wrong House: The Architecture of Alfred Hitchcock

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Publisher: Nai010 Publishers

Release Date: April 30, 2014

“Settings, of course, come into the preliminary plan, and usually I have a fairly clear idea about them; I was an art student before I took up with films. Sometimes I even think of backgrounds first.” -Alfred Hitchcock

Having worked as a set designer in the early 1920s, Hitchcock remained intensely concerned with the art direction of his films, which feature a remarkable collection of Victorian manors, suburban dwellings, modernist villas, urban mansions, and posh penthouses. Some remarkable single-set films, such as Rope or Rear Window, explicitly deal with the way the confines of the set relate to those of the architecture on screen. In this book, Steven Jacobs discusses how Hitchcock’s cinematic spaces are connected with the narrative, the characters, and the mise-en-scène of his films.

Perhaps the best description of the book comes from Jacobs himself (in the book’s introduction).

“In the process of creating cinematic space, phenomena such as lighting, sound, editing, camera positions, and camera movements can and should be interpreted as architectonic practices. As a result, this book not only deals with production design but also the way Hitchcock creates cinematic space by means of cinematic devices.

Nonetheless, this book takes Hitchcock as an architect… Apart from discussing the achievements of art directors, production designers, and set decorators, this book links these imaginary buildings to the history and theory of architecture.” -Steven Jacobs

Those who find the concept compelling should not be disappointed. Jacobs not only utilizes expert analysis to examine the architecture in the director’s work, he also includes reconstructed floor plans, film stills, and screenshots to illustrate his points. With the wealth of Hitchcock scholarship available, it is a wonder that this book wasn’t written sooner. Architecture obviously plays a vital role in Hitchcock’s work.

Two pages from the book.

Two pages from the book.

There are a few errors in the text (such as referring to John Ferren as John Ferrer, and listing Hitchcock’s subway cameo as occurring in The Lodger instead of Blackmail.) However, these errors do not overshadow the insights that can be found in the book. Unfortunately, it isn’t likely to interest many of Hitchcock’s casual fans and seems to be targeted towards scholarly research.

Review by: Devon Powell

Book Review: The Alfred Hitchcock Story

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Publisher: Titan Books

Release Date: August 19, 2008

Ken Mogg’s coffee table book is better than similar books about the director. The title might lead one to believe that the book is another biography, but it is really a tribute to the director’s film output. There are similar books about the director available, but The Alfred Hitchcock Story stands out for a number of reasons.

The text of Mogg’s book benefits from an easy to read style, and will certainly expand the reader’s appreciation of the films discussed. Readers should also be suitably impressed with the vast amount of photographs that are included on each page. I would venture a guess that readers will find at least a few photos that they have never seen before.

The book’s structure is somewhat unusual. It is broken up into five different units (The Early Years 1899-1933, Classic British Movies 1934-1939, Hollywood 1940-1950, The Golden Years 1951-1964, and Languishing 1965-1980). Each of these units includes a four page introduction written by Dan Aulier (who wrote Vertigo: The Making of a Hitchcock Classic, and Hitchcock’s Notebooks). These introductions provide the reader with a little biographical and ‘behind the scenes’ information that place the films in a certain period of the director’s career. This context enriches Moggs chapters on the individual films (which are usually either 2 or 4 pages in length).

Articles written by various other writers are also scattered throughout the book. These include:

“Behind the Scenes Collaborators” by Philip Kemp
“Hitchcock’s Cameo Appearances” by David Barraclough
“Hitchcock and His Writers” by Steven DeRosa (who wrote Writing with Hitchcock)
“Famous Locations” by Philip Kemp
“Hitchcock on Radio” by Martin Grams Jr
“Hitchcock and Film Technique” by Philip Kemp
“The Icy Blondes” by Philip Kemp
“Alfred Hitchcock Presents” by J. Larry Kuhns
“Remakes, Sequels, and Homages” by David Barraclough
“The Short Story Anthologies” by Martin Grams Jr
“Unrealized Projects” by Dan Aulier

Most of these diversions are either two or four pages long, and all of them should interest readers. I imagine that many Hitchcock enthusiasts will likely know a lot (if not all) of the information provided by the book, and some will likely disagree with some of Mogg’s theoretical analysis. In addition, both Mogg and Kemp have a tendency to relay other people’s so-called “research” without questioning it. Let’s face it, there are a lot of myths about Alfred Hitchcock that have no basis in reality (and even more that is questionable). However, there is certainly enough here to recommend the book to Hitchcock fans. The photos alone provide an adequate excuse to add it to one’s library.

Review by: Devon Powell