Hitchcock

<B>CONTENTS</B><br/><br/>Preface to the Revised Edition<br/><br/>Introduction<br/><br/>1: Childhood<br/><br/>Behind prison bars<br/><br/>"Came the dawn"<br/><br/>Michael Balcon<br/><br/><I>Woman to Woman<br/><br/>Number Thirteen</I><br/><br/>Introducing the future Mrs. Hitchcock<br/><br/>A melodramatic shooting: <I>The Pleasure Garden<br/><br/>The Mountain Eagle</I><br/><br/>2: The first true Hitchcock: <I>The Lodger</I><br/><br/>Creating a purely visual form<br/><br/>The glass floor<br/><br/>Handcuffs and sex<br/><br/>Why Hitchcock appears in his films<br/><br/><I>Downhill<br/><br/>Easy Virtue<br/><br/>The Ring</I> and One-Round Jack<br/><br/><I>The Farmer's Wife</I><br/><br/>The Griffith influence<br/><br/><I>Champagne</I><br/><br/>The last silent movie: <I>The Manxman.</I><br/><br/>3: Hitchcock's first sound film: <I>Blackmail</I><br/><br/>The Shuftan process<br/><br/><I>Juno and the Paycock</I><br/><br/>Why Hitchcock will never film <I>Crime and Punishment</I><br/><br/>What is suspense?<br/><br/>Murder<br/><br/><I>The Skin Game<br/><br/>Rich and Strange</I><br/><br/>Two innocents in Paris<br/><br/><I>Number Seventeen</I><br/><br/>Cats, cats everywhere<br/><br/><I>Waltzes from Vienna</I><br/><br/>The lowest ebb and the comeback.<br/><br/>4. <I>The Man Who Knew Too Much</I><br/><br/>When Churchill was chief of police<br/><br/><I>M</I><br/><br/>From "The One Note Man" to the deadly cymbals<br/><br/>Clarification and simplification<br/><br/><I>The Thirty-nine Steps</I><br/><br/>John Buchan's influence<br/><br/>Understatement<br/><br/>An old, bawdy story<br/><br/>Mr. Memory<br/><br/>Slice of life and slice of cake<br/><br/>5. <I>The Secret Agent</I><br/><br/>You don't always need a happy ending<br/><br/>What do they have in Switzerland?<br/><br/><I>Sabotage</I><br/><br/>The child and the bomb<br/><br/>An example of suspense<br/><br/><I>The Lady Vanishes</I><br/><br/>The plausibles<br/><br/>A wire from David O. Selznick<br/><br/>The last British film: <I>Jamaica Inn</I><br/><br/>Some conclusions about the British period.<br/><br/>6: <I>Rebecca:</I> A Cinderella-like story<br/><br/>"I've never received an Oscar"<br/><br/><I>Foreign Correspondent</I><br/><br/>Gary Cooper's mistake<br/><br/>In Holland, windmills and rain<br/><br/>The bloodstained tulip<br/><br/>What's a MacGuffin?<br/><br/>Flashback to <I>The Thirty-nine Steps<br/><br/>Mr. and Mrs. Smith</I><br/><br/>"All actors are cattle"<br/><br/><I>Suspicion</I><br/><br/>The luminous glass of milk<br/><br/>7: <I>Sabotage versus Saboteur</I><br/><br/>A mass of ideas clutters up a picture<br/><br/><I>Shadow of a Doubt</I><br/><br/>Tribute to Thornton Wilder<br/><br/>"The Merry Widow"<br/><br/>An idealistic killer<br/><br/><I>Lifeboat</I><br/><br/>A microcosm of war<br/><br/>Like a pack of dogs<br/><br/>Return to London<br/><br/>Modest war contribution: <I>Bon Voyage</I> and <I>Aventure Malgache.</I><br/><br/>8: Return to America<br/><br/><I>Spellbound</I><br/><br/>Collaboration with Salvador Dali<br/><br/><I>Notorious</I><br/><br/>"The Song of the Flame"<br/><br/>The uranium MacGuffin<br/><br/>Under surveillance by the FBI<br/><br/>A film about the cinema<br/><br/><I>The Paradine Case</I><br/><br/>Can Gregory Peck play a British lawyer?<br/><br/>An intricate shot<br/><br/>Horny hands, like the devil!<br/><br/>9: <I>Rope:</I> From 7:30 to 9:15 in one shot<br/><br/>Clouds of spun glass<br/><br/>Colors and shadows<br/><br/>Walls that fade away<br/><br/>Films must be cut<br/><br/>How to make noises rise from the street<br/><br/><I>Under Capricorn</I><br/><br/>Infantilism and other errors in judgment<br/><br/>Run for cover!<br/><br/>"Ingrid, it's only a movie!"<br/><br/><I>Stage Fright</I><br/><br/>The flashback that lied<br/><br/>The better the villain, the better the picture<br/><br/>10: Spectacular comeback via <I>Strangers on a Train</I><br/><br/>A monopoly on the suspense genre<br/><br/>The little man who crawled<br/><br/>A bitchy wife<br/><br/><I>I Confess</I><br/><br/>A "barbaric sophisticate"<br/><br/>The sanctity of confession<br/><br/>Experience alone is not enough<br/><br/>Fear of the police<br/><br/>Story of a <I>m&#233;nage &#225; trois</I><br/><br/>11: <I>Dial M for Murder</I><br/><br/>Filming in 3-D<br/><br/>The theater confines the action<br/><br/><I>Rear Window</I><br/><br/>The Kuleshov experiment<br/><br/>We are all voyeurs<br/><br/>Death of a small dog<br/><br/>The size of the image has a dramatic purpose<br/><br/>The surprise kiss versus the suspense kiss<br/><br/>The Patrick Mahon case and the Dr. Crippen case<br/><br/><I>To Catch a Thief</I><br/><br/>Sex on the screen<br/><br/><I>The Trouble with Harry</I><br/><br/>The humor of understatement<br/><br/><I>The Man Who Knew Too Much</I><br/><br/>A knife in the back<br/><br/>The clash of cymbals<br/><br/>12: <I>The Wrong Man</I><br/><br/>Absolute authenticity<br/><br/><I>Vertigo</I><br/><br/>The usual alternatives: suspense or surprise<br/><br/>Necrophilia<br/><br/>Kim Novak on the set<br/><br/>Two projects that were never filmed<br/><br/>A political suspense movie<br/><br/><I>North by Northwest</I><br/><br/>The importance of photographic documentation<br/><br/>Dealing with time and space<br/><br/>The practice of the absurd<br/><br/>The body that came from nowhere<br/><br/>13: Ideas in the middle of the night<br/><br/>The longest kiss in screen history<br/><br/>A case of pure exhibitionism<br/><br/>Never waste space<br/><br/>Screen imagery is make-believe<br/><br/><I>Psycho</I><br/><br/>Janet Leigh's brassi&#232;re.<br/><br/>Red herrings<br/><br/>Directing the audience<br/><br/>How Arbogast was killed<br/><br/>A shower stabbing<br/><br/>Stuffed birds<br/><br/>How to get mass emotions<br/><br/><I>Psycho:</I> A film-maker's film<br/><br/>14: <I>The Birds</I><br/><br/>The elderly ornithologist<br/><br/>The gouged-out eyes<br/><br/>The girl in a gilded cage<br/><br/>Improvisations<br/><br/>The size of the image<br/><br/>The scene that was dropped<br/><br/>An emotional truck<br/><br/>Electronic sounds<br/><br/>Practical jokes<br/><br/>15: <I>Marnie</I><br/><br/>A fetishist love<br/><br/><I>The Three Hostages, Mary Rose,</I> and <I>R.R.R.R.<br/><br/>Torn Curtain</I><br/><br/>The bus is the villain<br/><br/>The scene in the factory<br/><br/>Every film is a brand-new experience<br/><br/>The rising curve<br/><br/>The situation film versus the character film<br/><br/>"I only read the London <I>Times"</I><br/><br/>A strictly visual mind<br/><br/>Hitchcock a Catholic film-maker?<br/><br/>A dream for the future: A film showing twenty-four hours in the life of a city<br/><br/>16: Hitchcock's final years<br/><br/>Grace Kelly abandons the cinema<br/><br/>More on <I>The Birds, Marnie,</I> and <I>Torn Curtain</I><br/><br/>Hitch misses the stars<br/><br/>The "great flawed films"<br/><br/>A project that was dropped<br/><br/><I>Topaz</I> made to order for the front office<br/><br/>Return to London with <I>Frenzy</I><br/><br/>The pacemaker and <I>Family Plot</I><br/><br/>Hitchcock laden down with tributes and honors<br/><br/>Love and espionage<br/><br/><I>The Short Night</I><br/><br/>Hitchcock is ill, Sir Alfred is dead<br/><br/>The end<br/><br/>The Films of Alfred Hitchcock<br/><br/>Selected Bibliography<br/><br/>Index of Film Titles<br/><br/>Index of Names