Alfred Hitchcock: Filming Our Fears (Oxford Portraits)
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Alfred Hitchcock is a fascinating look at the life of one of the most influential filmmakers in the world -- a man known for his portly profile and distinct, leery voice almost as much as for his groundbreaking movies. From Hitchcock's first film, Blackmail -- the first British movie with sound -- to his blockbuster Hollywood successes, Psycho, The Birds, Rear Window, and Vertigo. Alfred Hitchcock chronicles the Master of Suspense's close working relationship with his wife, Alma, who was an integral part of his filmmaking process, and the struggle to gain full artistic control over his work. With illustrations throughout and sidebars showcasing Hitchcocks techniques and directing style, Alfred Hitchcock reveals how some of the greatest films ever created came to be through the life and work of one of the most admired filmmakers ever.
Oxford Portraits are informative and insightful biographies of people whose lives shaped their times and continue to influence ours. Based on the most recent scholarship, they draw heavily on primary sources, including writings by and about their subjects. Each book is illustrated with a wealth of photographs, documents, memorabilia, framing the personality and achievements of its subject against the backdrop of history.
Britain, but that, everyone Maté. Like Hitchcock and many others in feared, would come at any time. Mrs. Hitchcock still refused Hollywood, Maté had to leave, although her son did convince her to move out of worked in Europe before coming to America. London to the cottage he still owned in Shamley Green. Back in Hollywood by early July, Hitchcock found that Walter Wanger wanted to incorporate the predicted bombardment of England into Foreign Correspondent. A new final scene was hastily written
pleasure for Hitchcock, the movie’s technical side was an unpleasant chore. Studio head Jack Warner insisted that the movie be shot in the “3-D” process, which gave the images an illusion of depth. The process was then enjoying a brief surge of popularity, as movie companies scrambled to give audiences things they could not see on the new medium of television. The 3-D cameras were enormous and cumbersome, however, which made the process a burden for the filmmakers. It was a burden for the
suspenseful scene. Jeffries’s girlfriend, Lisa, decides on her own to break into the suspected killer’s apartment to search for an incriminating bit of evidence. Along with Jeffries, we gaze in horror as Lisa conducts her search while, unbeknownst to her, Thorwald approaches his door from the outside hallway. We see Thorwald accost Lisa in the apartment as the frantic Jeffries phones the police, who arrive just in time to save her. During the police questioning, Thorwald notices a signal 101
Paradine Case, The, 85, 89, 119, 134 Paramount Pictures, 18, 58, 65, 98–99, 101, 110, 113–14, 117, 119–20, 122–23 Peck, Gregory, 74, 81, 85 Perfect Murder, A, 146 Perkins, Anthony, 123 Pilbeam, Nova, 46–47, 57 Pleasure Garden, The, 26–27, 29, 33 Poe, Edgar Allan, 16, 29 Pommer, Erich, 62 Psycho, 6–9, 69, 94, 120, 122–25, 127, 141, 146 Rainbird Pattern, The, 142–43 Rains, Claude, 83–84 Rear Window, 98–99, 101–3, 119, 146–47 Rebecca, 61–70, 73, 75, 127 Redgrave, Michael, 59–60 Rich and Strange,
the scene of the Image Not Available crime.” He pauses for an instant to let that ominous fact sink in. Next, he points out another building, this one an old Victorian house that sits atop a hill behind the motel. It is, he says, “a little more sinister-looking, less Psycho star Anthony Perkins stands beside innocent than the motel itself,” and it was there that “the the sinister-looking most dire, horrible events took place.” house that was one of the film’s principal sets. “I think we can go