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

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Book Review: Hitchcock’s British Films

Hitchcocksbritish 2Publisher: Wayne State University Press (2nd Edition)

Release Date: October 11, 2010

In 1977 (when this book was first published), critics tended to overlook (and even discount) the films from Alfred Hitchcock’s British period. This tendency seems especially short sighted. The formative years of any creative artist deserves analysis and in-depth study. Yacowar was a single voice of reason. Hitchcock’s British Films challenged popular critical rhetoric and provided a resource for the further study of this important period in Hitchcock’s career.

This second edition has brought a pioneering text that was out of circulation for decades into the hands of scholars and film fans alike. While Yacowar’s essays are mostly concerned with theoretical analysis, there is the occasional nugget of ‘behind the scenes’ information. The text is essential because many of these films are so often neglected. For instance, Waltzes from Vienna is given its own essay. How many essays have been written about this film? Usually the film is given only a brief mention (along with Hitchcock’s quote about it being the “lowest ebb of his career”). These under-studied movies are presented as more than merely unimportant footnotes in the career of an important director. Yacowar provides a serious study of each of these films and one could recommend the book for this reason alone.

Review by: Devon Powell

 

Book Review: Hitchcock’s Ear

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Publisher: Bloomsbury Academic

Release Date: March 22, 2012

Expectation has a way of painting shadows upon a text that can easily doom the reader’s enjoyment. Certain readers might be disappointed with “Hitchcock’s Ear” if they are expecting an in-depth ‘behind the scenes’ study of Alfred Hitchcock’s incredible use of sound. This book has other agendas. David Schroeder’s analytical book is an in-depth study of the possible influence that music may have had upon Hitchcock’s film work (including mise-en-scène and montage). Instead of focusing on Hitchcock’s use of sound and music in his work, this text instead focuses on how the director’s musical influences affect his particular style. There are certainly major exceptions. One of the book’s highlights is a chapter that discusses Franz Waxman’s score for the film. The disintegration of the relationship between Bernard Herrmann and Alfred Hitchcock is also discussed at length. These chapters are both interesting and informative as they offer an alternative viewpoint about these particular topics.

Schroeder uses specific examples in exhaustive detail to illustrate his points. Because of the tireless detail presented here, the text has a great deal of value to learned scholars of Hitchcock studies, film theory, and music. However, one wonders if certain points will be made clear to individuals that do not have a basic understanding of music and music terminology (as well as a familiarity with various musical compositions). One imagines that Schroeder’s meaning will be lost on a great many people. This makes it rather difficult for a reviewer, because the book’s strengths are directly related to the weaknesses. The book’s sole weakness is that the reader’s enjoyment and understanding of the text is contingent upon his or her knowledge of the subject prior to reading the book. Even if this is an issue for certain readers, it should be said that Schroeder’s text provides an extremely new and interesting method of analyzing the “Hitchcock” film. It should provide scholars with an essential reference for future studies on the master’s oeuvre.

 Review by: Devon Powell