000			06386 a2200157 4500
020			_a9780671604295
082			_a791.43 _bTRU
100			_aTruffaut, Francois
245			_aHitchcock
260			_aNew York _bSimon & Schuster Paperbacks _c1984
300			_a367p.
505			_aContents Preface to the Revised Edition 11 Introduction 13 1: Childhood • Behind prison bars • "Came the dawn" • Michael Balcon • Woman to Woman • Number Thirteen • Introducing the future Mrs. Hitchcock • A melodramatic shooting: The Pleasure Garden • The Mountain Eagle 25 2: The first true Hitchcock: The Lodger• Creating a purely visual form • The glass floor • Handcuffs and sex • Why Hitchcock appear in his films • Downhill • Easy Virtue • The Ring and One-Round Jack • The Farmer's lWife • The Griffith influence • Champagne • The last silent movie: The Manxman. 43 3: Hitchcock's first sound film: Blackmail • The Shuftan process• Juno and the Paycock • Why Hitchcock will never film Crime and Punishment • What is suspense? • Murder • Tlte Skin Gmne • Rich and Strange • Two innocents in Paris • Number SeYenteen • Cats, cats everywhere • Waltzes from Vienna • The lowest ebb and the comeback . 63 4. The Man Who Knew 'Too Much • When Churchill was chief of police • M • From "The One Note 1-fan" to the deadly cymbals • Clarification and simplification • The Thirty-nine Steps • John Buchan's influence • Understatement • An old, bawdy story • Mr. Memory • Slice of life and slice of Cake 89 5. The Secret Agent• You don't always need a happy ending • What do they have in Switzerland?• Sabotage• The child and the bomb • An example of suspense• The Lady Vanishes • The plausible • A wire from David 0. Selznick • The last British film: Jamaica Inn• Some concl11sions about the British period . 105 6: Rebecca: A Cinderella-like story • ''I've never received an Oscar" • Foreign Correspondent• Gary Cooper's mistake• In Holland, windmills and rain • The bloodstained tulip • What's a ~1acGuffin? • Flashback to The Thirty-nine Steps • Mr. and Mrs. Smith • "All actors are cattle" • Suspicion • The luminous glass of milk 127 7. Sabotage versus Saboteur• A mass of ideas Clutters up a picture• Shadow of (l Doubt• Tribute to Thornton Wilder • "The Merry Widow" • An idealistic killer • Lifeboat • A microcosm of war • Like a pack of dogs • Return to London • Modest war contribution: Bon Voyage and A venture Malgache . 145 8: Return to America • Spellbound • Collaboration With Salvador Dali • Notoriom • "The Song of the Flame"• The uranium MacCuffin • Under surveillance by the FBI • A film about the cinema • The Paradine Case • Can Gregory Peck play a British lawyer? • An intricate shot • Horny hands, like the devil! 163 9: Rope; From 7:30 to 9: 15 in one shot Clouds of spun glass • Colors and shadows • Walls that fade away· Films must be cut • How to make noises rise from the street • Under Capricorn • Infantilism and other errors in judgment • Run for cover! • "Ingrid, it's only a movie!"• Stage Fright• The flashback that lied • The better the villain, the better the picture 179 10: Spectacular comeback via Strangers on a Train• A monopoly on the suspense genre • The little man who crawled • A bitchv wife • I Confess • A "barbaric sophisticate;. • The sanctity of confession • Experience alone is not enough • Fear of the police • Story of a menage a trois 193 11: Dial M for Murder• Filming in 3-D • The theater confines the action • Rear Window • The Kuleshov experiment • We arc all voyeurs • Death of a small dog • The size of the image has a dramatic purpose • The surprise kiss versus the suspense kiss • The Patrick Mahon case and the Dr. Crippen case• To Catch a Thief• Sex on the screen • The Trouble with Harry • The humor of understatement• '/'he I\.Jcm Who Knew Too Much • A knife in the back • The clash of cymbals 209 12: The Wrong Man • Absolute authenticity • Vertigo • The usual alternatives: suspense or surprise • Necrophilia• Kim Novak on the set • Two projects that were never filmed• A political suspense movie• North by Northwest • The importance of photographic documentation • Dealing with time and space • The practice of the absurd • The body that came from nowhere , 235 13: Ideas in the middle of the night• The longest kiss in screen history • A case of pure exhibitionism• Never waste space• Screen imagery is make-believe • Ps}'cho • Janet Leigh's brassi~re. • Reel herrings• Directing the audience• How Arbogast was killed• A shower stabbing • Stuffed birds • Hmv to get mass emotions• Psvcho: A film-maker's film . , 259 14: The Birds• The elderly ornithologist • The gouged-out eyes • The girl in a gilded cage • Improvisations • The size of the image • The scene that was dropped • An emotional truck • Electronic sounds • Practical jokes . 285 15: Mamie • A fetishist love • The Three Hostages, Mar}' Rose, and RR.RR. • Tom Cmtain • The bus is the villain• The scene in the factory • Every film is a brand-new experience • The rising curve • The situation film versus the character film • "l only read the London Times"• A strictly visual mind • Hitchcock a Catholic film-maker? • dream for the future: A film showing twenty-four hours in the life of a city 301 16: Hitchcock's final vcars • Grace Kcllv abandons the cinema; More on The Birds, Marnie, and Tom Curtain • Hitch misses the stars • The "great flawed films" • A project that was dropped• Topaz made to order for the front office • Return to Loudon with Frenzy• The pacemaker and Family Plot• Hitchcock laden down with tributes and honors • Love and espionage • The Short Night• Hitchcock is ill, Sir Alfred is dead• The end . 323 The Films of Alfred Hitchcock 351 Sckctccl Bibliography 363 Index of Film Titles 364 Index of ~ames 365
890			_aUSA
891			_aFA
942			_2ddc
999			_c70669 _d70669
650			_aMotion picture producers and directors _aHitchcock, Alfred, 1899-1980 _aMotion pictures