Sir Alfred Joseph Hitchcock (August 13, 1899 - April 29, 1980) is a British film director and producer, widely regarded as one of the most influential filmmakers in the history of cinema. Known as the "Master of Suspense", he directed 53 films in a career over six decades, becoming well-known as one of his actors thanks to numerous interviews, his cameo roles in most of his films, and Alfred Hitchcock Presents (1955 -1965).
Born on the outskirts of London, Hitchcock entered the film industry in 1919 as a title card designer after training as a technical clerk and copy writer for a telegraph-cable company. His first successful film, The Lodger: A Story of the London Fog (1927), helped shape the genre of thriller, while his film in 1929, Extortion , was the first British film "talkie". Two of the 1930's thrillers, The 39 Steps (1935) and The Lady Vanishes (1938), ranked among the greatest British films of the 20th century. In 1939 Hitchcock was an important international filmmaker, and film producer David O. Selznick persuaded him to move to Hollywood. Successful film sequences were followed, including Rebecca (1940), Foreign Correspondent (1940), Shadow of a Doubt (1943), and > The Paradine Case (1947); Rebecca was nominated for 11 Oscars and won an Academy Award for Best Picture.
The "Hitchcockian" style involves the use of camera movements to mimic a person's view, thereby turning the viewer into voyeurs, and framing the shoot to maximize anxiety and fear. Film critic Robin Wood writes that the meaning of the Hitchcock film "exists in the method, in the development from shot to shot." The Hitchcock film is an organism, with a whole implied in every detail and every detail related to the whole. "In 1960 Hitchcock had directed four films often among the greatest of all time: Rear Window (1954), Vertigo (1958), North by Northwest (1959), and < i> Psycho (1960); in 2012 Vertigo replaces Orson Welles Citizen Kane (1941) as the best film ever made of the British Film Institute. By 2016, seven of his films have been selected to be kept in the National Film Registry of the United States, including his personal favorites, Shadow of a Doubt (1943). He received the AFI Life Achievement Award in 1979 and became knighted in December of that year, four months before he died.
Video Alfred Hitchcock
Biografi
Kehidupan awal: 1899-1919
Usia dini dan pendidikan
Hitchcock was born in a flat above his parents' rented grocery store on 517 High Road, Leytonstone, on the outskirts of east London (later part of Essex), the youngest of three children: William (born 1890), Ellen Kathleen ("Nellie") (1892) , and Alfred Joseph (1899). Her parents, Emma Jane Hitchcock, nA © Whelan (1863-1942), and William Hitchcock (1862-1914), were Roman Catholics, with partial roots in Ireland; William is a vegetable vendor like his father used to be. There was a large family, including Uncle John Hitchcock with his five-bedroom Victorian home on Campion Road, Putney, complete with maids, chefs, chauffeurs, and gardeners. Every summer John hires a house by the beach for family in Cliftonville, Kent. Hitchcock said that he first became aware of the class there, seeing the difference between tourists and locals.
Describing himself as a well-behaved boy - his father calls him "little sheep without a place" - Hitchcock says he can not remember ever having a playmate. One of his favorite stories for the interviewer was about his father sending him to the local police station with a note when he was five years old; the cop looked at the note and locked him in the cell for a few minutes, saying, "This is what we do to naughty boys." The experience left him, he said, with a lifelong fear of the police; in 1973 he told Tom Snyder that he was "afraid of something rigid... to do with the law" and would not even drive if he got a parking ticket.
When he was six, his family moved to Limehouse and rented two stores at 130 and 175 Salmon Lane, which they run as fish shops and fish chips; they live on the first one. It appears that Hitchcock was seven years old when he attended his first school, Howrah House Convent in Poplar, which he entered in 1907. According to Patrick McGilligan, he lived in the Howrah House for at least two years. He also attended the abbey school, the Street Role School "for boys and little boys", run by the Companions of Jesus; briefly attended elementary school near her home; and for a very short time, when he was nine, a boarding house at Salesian College in Battersea.
The family moved again when he was 11 years old, this time to Stepney, and on 5 October 1910 Hitchcock was sent to St Ignatius College in Stamford Hill, a Jesuit grammar school with a reputation for discipline. Pastors use hard rubber sticks on boys, always at the end of the day, so boys have to sit in class anticipating punishment once they know they have been written for it. He says this is where he develops his fears. The school list records the year of his birth as 1900 rather than 1899; Spoto writes that it appears he was deliberately registered as a 10-year-old, probably because he's a year behind his school. Hitchcock says he is "usually between four or five at the top of the class"; at the end of his first year, his works in Latin, English, French and religious education were recorded. His favorite subject was geography, and he became interested in maps, and train and bus schedules; according to Taylor, he can read all the stops in the Orient Express. He told Peter Bogdanovich: "The Jesuits taught me organizing, control, and, to some degree, analysis."
Henley's
Hitchcock told his parents that he wanted to become an engineer, and on July 25, 1913, he left St. Ignatius and enrolled in night classes at the School of Engineering and Navigation at County Council County London in Poplar. In an interview throughout the book in 1962, he told Franç§ois Truffaut that he had studied "mechanics, electricity, acoustics, and navigation". Then on 12 December 1914 his father, who suffered emphysema and kidney disease, died at the age of 52 years. To support her and her mother - her siblings had left home at the time - Hitchcock took a job, for 15 years. shilling a week (Ã,  £ 66 in 2017), as a technical officer at Henley Telegraph and Cable Company on Blomfield Street near London Wall. He defended his night class, this time in art history, painting, economics, and political science. Her sister runs the family shop, while she and her mother continue to live in Salmon Lane.
He was too young to register when World War I broke out in July 1914, and when he was quite old, in 1917, he was classified as "C3" ("free from serious organic diseases, able to survive in service conditions at home garrisons.... only suitable for inactive work "). He joined the volunteer corps of the Royal Engineers and took part in the theoretical briefings; there was one practical practice session at Hyde Park, where, John Russell Taylor wrote, his butt kept falling around his ankle.
After the war, Hitchcock began to engage in creative writing. In June 1919 he became the founder editor and business manager of Henley's internal publications, The Henley Telegraph (six copies), to whom he submitted several short stories. Henley promoted it to the advertising department, where he wrote copies and drew graphics for advertising for power lines. He apparently liked the job and would stay in the office to check his evidence; he told Truffaut that this was "the first step toward cinema". He enjoys watching movies, especially American cinema, and from the age of 16 reads the trade papers; he witnessed Charlie Chaplin, D. W. Griffith, and Buster Keaton, and especially liked the work of Fritz Lang Der Töde Tod (1921).
Interwar career: 1919-1939
Famous Players-Lasky
While still at Henley, he read on the trade paper that Famous Player-Lasky, the production arm of Paramount Pictures, opened a studio in London. They planned to film The Sorrows of Satan by Marie Corelli, so she produced some pictures for the title card and sent her work to the studio. They hired him, and in 1919 he started working for Islington Studios in Poole Street, Hoxton, as the title card designer. Donald Spoto writes that most of the staff are Americans with strict job specifications, but British workers are encouraged to try their hands on anything, which means that Hitchcock gained experience as an author, art director and production manager on at least 18 silent films. The Times wrote in February 1922 about "special art department department under the supervision of Mr. A. J. Hitchcock". His work there included Number 13 (1922), also known as Madam. Peabody , canceled due to financial problems - some of the completed scenes disappeared - and Always Tell Your Wife (1923), to which he and Seymour Hicks settled together when Hicks will deliver on it. Hicks later wrote about being assisted by a "fat boy in charge of property rooms... [n] in addition to Alfred Hitchcock".
Gainsborough Pictures
When Paramount left London in 1922, Hitchcock was hired as an assistant director by a new company run in the same location by Michael Balcon, later known as Gainsborough Pictures. Hitchcock worked on Woman to Woman (1923) with director Graham Cutts, designing sets, writing scripts and producing. He said: "This is the first movie I really get." Editor and "girl script" in Woman to Woman is Alma Reville, his future wife. He also worked as a Cutts assistant at The White Shadow (1924), The Passionate Adventure (1924), The Blackguard (1925) and < i> The Prude's Fall (1925). The Blackguard was produced at Babelsberg Studios in Potsdam, where Hitchcock witnessed part of F. W Murnau's The Last Laugh film (1924). He was impressed with Murnau's work and then used many of his techniques for designs set in his own production.
In the summer of 1925, Balcon asked Hitchcock to direct The Pleasure Garden (1925), starring Virginia Valli, a joint production of Gainsborough and German company Emelka at the Geiselgasteig studio near Munich. Reville, at the time Hitchcock's fiancée, was the assistant director of the editor. Though the film failed commercially, Balcon liked Hitchcock's work; the title of Daily Express called him, "Youth with the master brain". Balcon asked him to direct the second film in Munich, The Mountain Eagle (1926), released in the United States as Fear o 'God . The movie is missing; Hitchcock called it "a very bad movie".
Hitchcock's fortunes changed with his first thriller, The Lodger: A Story of the London Fog (1927), about the hunt for a serial killer who, dressed in black robes and carrying a black bag, was killing a young blond woman in London , and only on Tuesday. A landlady suspects that her sneakers are murderers, but she is not guilty. To convey that footsteps are heard from upstairs, Hitchcock has a glass floor made so that viewers can see the occupants of the house up and down in his room above the landlady. Hitchcock wants the leading man to be guilty, or for a movie to at least end up ambiguous, but the star Ivor Novello, matinà ©  idol, and "star system" mean that Novello can not be his villain. Hitchcock told Truffaut: "You have to explain clearly in capital letters: 'He is innocent.'" (He had the same problem a few years later with Cary Grant in Suspicions.) Released on January 1927, The Lodger is a commercial and critical success in the UK. Hitchcock told Truffaut that the film was the first for him to be influenced by the Expressionist techniques he had witnessed in Germany: "Actually, you might almost say that The Lodger is my first image." She made her first cameo appearance in the movie, solely because of the extra body needed, sat down in the newsroom and then stood in the crowd as the eminent man was captured.
Marriage
On December 2, 1926, Hitchcock and Alma Reville (1899-1982) were married at Brompton Oratory in South Kensington. The couple had their honeymoon in Paris, Lake Como and St. Moritz, before returning to London to live in a rented flat on the top two floors at 153 Cromwell Road, Kensington. Reville, born just hours after Hitchcock, shifted from Protestantism to Catholicism, apparently at the urging of Hitchcock's mother; he was baptized on 31 May 1927 and confirmed at Westminster Abbey by Cardinal Francis Bourne on 5 June. In 1928, when he learned that he was pregnant, Hitchcocks bought "Winter's Grace", a Tudor farmhouse located on 11 acres in Stroud Lane, Shamley Green, Surrey, for £ 2,500. Their daughter and only child, Patricia Alma Hitchcock, was born on July 7 that year. Reville became the closest collaborator of her husband; Charles Champlin wrote in 1982: "The touch of Hitchcock has four hands, and two belong to Alma."
Initial sound movie
Hitchcock began working on his tenth film, Extortion (1929), when his production company, British International Pictures (BIP), turned his Elstree studio into sound. The film is Britain's first "talkie"; it follows the first feature American sound feature, The Jazz Singer (1927). Extortion started the Hitchcock tradition using a famous landmark as the backdrop for a series of tensions, with the climax occurring in the dome of the British Museum. It also featured one of his longest cameo appearances, showing him being distracted by a boy when he read a book on the London Underground. In the PBS series The Men Who Made The Movies , Hitchcock explains how he used the earliest sound recordings as a special element of the film, emphasizing the word "knife" in a conversation with a woman suspected of murder. During this period, Hitchcock directed the segments for BIP revitalization, Elstree Calling (1930), and directed the short film,
In 1933 Hitchcock once again worked for Michael Balcon in Gaumont England. His first film for the company, The Man Who Knew Too Much (1934), was successful; the second, The 39 Steps (1935), was recognized in England and made Hitchcock a star in the United States. He also founded the classic English "Hitchcock blonde" (Madeleine Carroll) as a template for the success of cool and elegant ladies. Scriptwriter Robert Towne said, "It is no exaggeration to say that all contemporary entertainment entertainment begins with The 39 Steps . The film is one of the first to introduce a plot device "MacGuffin", a term coined by British scriptwriter Angus MacPhail. MacGuffin is an item or destination performed by the protagonist, which has no narrative value; at The 39 Steps , MacGuffin is a series of stolen design plans.
Hitchcock released two spy thrillers in 1936. Sabotage is loosely based on Joseph Conrad's novel, Secret Agent (1907), of a woman who discovered that her husband was a terrorist , and Secret Agents , based on two stories in Ashenden: Or British Agent (1928) by W. Somerset Maugham.
Hitchcock's next major success was The Lady Vanishes (1938), "one of the biggest train movies of the golden age of the genre," according to Philip French, where Miss Froy (May Whitty), British spies disguised as caregiver, disappeared on a train journey through a fictitious European country in Bandrika. The film sees Hitchcock receiving the 1939 New York Film Critics Circle Award for Best Director, the only time he won the award for his lead. Benjamin Crisler, a film critic of the New York Times, wrote in June 1938: "Three unique and valuable institutions held by the British in America are not: Magna Charta, Tower Bridge and Alfred Hitchcock, the largest director of melodrama screen in this world. "
Hollywood's early years: 1939-1945
Selznick Contract
David O. Selznick signed Hitchcock with a seven-year contract starting in March 1939, and Hitchcock moved to Hollywood. In June of that year Life magazine called it "the greatest melodrama master in screen history". Working arrangements with Selznick are less than ideal. Selznick suffers from constant financial problems, and Hitchcock is often unhappy with Selznick's creative control of his films. In a later interview, Hitchcock said: "[Selznick] is a Great Producer.... Producer is king The most flatter thing Mr. Selznick has ever said about me - and it shows you the amount of control - he says I am 'the sole director 'which he believes in the movie.' "At the same time, Selznick complains about the" fucking jigsaw cut "of Hitchcock, which means that the producer must follow Hitchcock's vision of the finished product.
Selznick borrowed Hitchcock to a larger studio more often than producing his own Hitchcock movie. Selznick only makes a few films every year, as did fellow independent producer Samuel Goldwyn, so he does not always have projects for Hitchcock to steer. Goldwyn has also negotiated with Hitchcock about a possible contract, only to be beaten by Selznick. Hitchcock was quickly impressed by the superior resources of American studios compared to the financial constraints he often faced in Britain.
Images Selznick Rebecca (1940) is the first Hitchcock American film, made in the English version of Hollywood in Cornwall and based on a novel by the English novelist Daphne du Maurier. Film stars Laurence Olivier and Joan Fontaine. This story concerns a naive (and unnamed) young woman who marries a widowed aristocrat. He went to live in his great British country house, and struggled with the reputation of his elegant and worldly first wife, Rebecca, who died under mysterious circumstances. The film won Best Picture at 13th Academy Awards; the statue was given to Selznick, as a film producer. Hitchcock was nominated as Best Director, the first of five such nominations.
Hitchcock's second American film is the 1940 Foreign Correspondents (1940), made in Europe, based on Vincent Sheean's Personal History <19i) and produced by Walter Wanger. It was nominated for Best Picture of the year. Hitchcock felt uncomfortable living and working in Hollywood while his country was at war; His concerns resulted in a film that openly supported the British war effort. Filmed in the first year of World War II, it was inspired by the rapidly changing events in Europe, as covered by an American newspaper reporter played by Joel McCrea. Combining recordings of European scenes with scenes filmed in Hollywood backlots, the film avoided direct reference to Nazism, Nazi Germany, and Germany to comply with censorship of Hollywood film production films at the time.
In the early years of the war
In September 1940, Hitchcocks purchased a 200-acre Cornwall Ranch (0.81 km) near the Scotts Valley, California, in the Santa Cruz Mountains. Their main residence is an English-style house in Bel Air, purchased in 1942. The Hitchcock movies are very diverse during this period, ranging from the romantic comedy. & amp; Mrs. Smith (1941) to the grim film noun Shadow of a Doubt (1943).
Suspicions (1941) marks Hitchcock's first movie as producer and director. It's set in the UK; Hitchcock uses the north coast of Santa Cruz to order the British coastline. The film is the first of four projects in which Cary Grant works with Hitchcock, and this is one of the rare occasions that Grant plays a role in a scary role. Grant plays Johnnie Aysgarth, an English swindler whose actions provoke suspicion and anxiety in his shy wife, Lina McLaidlaw (Joan Fontaine). In one scene, Hitchcock places light in a glass of milk, perhaps poisoned, that Grant gave to his wife; the lights ensure that the audience's attention is on the glass. Grant's character was the murder in Francis Iles's book, Francis Iles's book, Before the Fact, but the studio felt that Grant's image would be tarnished by it. Therefore Hitchcock decided to end things that were not clear, though, when he told FranÃÆ'§ois Truffaut, he preferred to end his wife's murder. Fontaine won Best Actress for her performance.
Saboteur (1942) was the first of two films Hitchcock made for Universal over the decade. Hitchcock was forced by Universal Studios to use Universal Contract player Robert Cummings and Priscilla Lane, a freelance worker who signed a drawing deal with Universal, both known for their work in comedy and light drama. In violation of the Hollywood convention at the time, Hitchcock performed extensive location shots, especially in New York City, and described the confrontation between the suspected saboteur (Cummings) and the real saboteur (Norman Lloyd) on the Statue of Liberty. He also directed Have You Heard? (1942), a dramatic photography for Life magazine about the dangers of rumors during the war. In 1943 he wrote a mystery story for Look magazine, "Monty Woolley's Murder", a series of photographs that invited readers to find clues to the identity of the killer; Hitchcock acts as themselves, like Woolley, Doris Merrick, and Guy Pearce's makeup guy.
Shadow of a Doubt (1943) is a personal favorite of Hitchcock and the second of the early Universal films. Charlotte "Charlie" Newton (Teresa Wright) suspects his beloved uncle Charlie Oakley (Joseph Cotten) becomes a serial killer. Hitchcock has again filmed extensively on site, this time in the city of Santa Rosa, Northern California.
Working at 20th Century Fox, Hitchcock adapted the manuscript of John Steinbeck, which captured the experience of German U-boat survivors in the film Lifeboat (1944). The action sequence was shot in a small boat in the studio water tank. This locale poses a problem for Hitchcock's traditional cameo appearance. It was solved with a picture of Hitchcock appearing in a newspaper stolen by William Bendix in the boat, showing the director in an advertisement before and after "Reduco-Obesity Slayer". He told Truffaut in 1962:
At that time, I was on a heavy diet, painfully working from three hundred to two hundred pounds. So I decided to immortalize my loss and get my little part by posing for "before" and "after" pictures.... I was totally drowned by letters from fat people who wanted to know where and how they could get Reduco.
The typical Hitchcock dinner before weight loss is grilled chicken, boiled ham, potatoes, bread, vegetables, food, salads, desserts, a bottle of wine, and some brandy. To lose weight, he stopped drinking, drank black coffee for breakfast and lunch, and ate steaks and salads for dinner, but it was hard to keep him; Spoto writes that his weight is very fluctuating for the next 40 years. At the end of 1943, despite the weight loss, Los Angeles Occidental Insurance Company rejected her life insurance.
Movies of wartime non-fiction
Hitchcock returned to England for an extended visit in late 1943 and early 1944. While there he made two short propaganda films, Bon Voyage (1944) and Aventure Malgache (1944), to the Ministry of Information. In June and July 1945 Hitchcock served as a "medical adviser" on a Holocaust documentary using Allied Allied footage on the liberation of Nazi concentration camps. The film is assembled in London and produced by Sidney Bernstein of the Ministry of Information, which carries Hitchcock (a friend) on the plane. Originally intended to be broadcast to Germany, but the British government considered it too traumatic to show to a staggering postwar population. Instead, it was transferred in 1952 from the British War Office dome to the Imperial War Museum in London and remained unreleased until 1985, when the edited version was aired as an episode of PBS Frontline, with the title Imperial War Museum gave it: Memory of the Camps . The full version of the film, German Camp Training Concentration Survey , was restored in 2014 by scholars at the Imperial War Museum.
The years after the Hollywood war: 1945-1953
Next Selznick Movie
Hitchcock worked for David Selznick again as he directed Spellbound (1945), which explored the psychoanalysis and dream sequence features designed by Salvador DalÃÆ'. The sequence of dreams as they appear in the film is ten minutes shorter than originally envisioned; Selznick edited it to make it "play" more effectively. Gregory Peck plays amnesiac Dr. Anthony Edwardes under the care of Dr. Peterson (Ingrid Bergman), who fell in love with him while trying to open a distressed past. Two point-of-view shots were achieved by making a large wooden hand (which would appear to belong to a character whose viewpoint was taken) and a large props to hold: a milk-sized bucket and a large wooden pistol. To add novelty and impact, a red climax shot on several copies of a black and white movie. Original music scores by MiklÃÆ'³s RÃÆ'³zsa made use of theremin, and some of them were later adapted by composers to Rozsa's Piano Concerto Op. 31 (1967) for piano and orchestra.
Notorious (1946) follows Spellbound . Hitchcock told FranÃÆ'§ois Truffaut that Selznick had sold it, Ingrid Bergman, Cary Grant, and screenplay by Ben Hecht, to RKO Radio Pictures as a "package" of $ 500,000 (equivalent to $ 6,274,744 in 2017) due to overcharging on Selznick Duel in the Sun (1946). Notorious Bergman and Grant stars, both fixed Hitchcock, and feature plots about Nazi, uranium and South America. His use of uranium as a plot means to have him placed briefly under surveillance by the Federal Bureau of Investigation. According to McGilligan, in or about March 1945 Hitchcock and Ben Hecht consulted Robert Millikan of the California Institute of Technology on the development of uranium bombs. Selznick complained that the idea was "science fiction", only to be confronted by news of the explosion of two atomic bombs at Hiroshima and Nagasaki in Japan in August 1945.
Transatlantic Images
Hitchcock formed an independent production company, Transatlantic Pictures, with his friend Sidney Bernstein. He made two films with Transatlantic, one of which was his first color film. With Rope (1948), Hitchcock experimented with suspense marshalling in a limited environment, as he had done before with Lifeboat (1944). The film appears to have been taken in one shot, but actually shooting in 10 times ranges from 4 to ½ to 10 minutes; a 10-minute movie is the most possessed by a camera film magazine at the time. Some transitions between scrolls are hidden by having dark objects filling the entire screen for a moment. Hitchcock uses the dots to hide the pieces, and starts the next take with the camera in the same place. The film features James Stewart in the lead role, and is the first of four films made by Stewart with Hitchcock. It was inspired by the case of Leopold and Loeb in the 1920s. This movie is not well received.
Below Capricorn (1949), founded in the 19th century in Australia, also uses short-term techniques from the old take, but to a more limited extent. He again used Technicolor in this production, then returned to the black-and-white film for several years. Transatlantic Pictures became inactive after two failed films. Hitchcock filmed Stage Fright (1950) in a studio in Elstree, England, where he worked for British International Pictures contracts years before. He fits into one of Warner Bros.'s. 'the most popular star, Jane Wyman, with expatriate German actor Marlene Dietrich and using some of Britain's leading actors, including Michael Wilding, Richard Todd, and Alastair Sim. This is Hitchcock's first production for Warner Bros., which has distributed Rope and Under Capricorn, as Transatlantic Pictures has financial difficulties.
The film Stranger on the Train (1951) is based on a novel of the same name by Patricia Highsmith. Hitchcock incorporates many elements from previous films. He approached Dashiell Hammett to write a dialogue, but Raymond Chandler took over, then left a dispute with the director. In the film, two men casually meet, one of them speculating about a very easy method to kill; he suggested that two people, each wanting to do away with someone, each had to commit another murder. Farley Granger's role was an innocent victim of the scheme, while Robert Walker, previously known for the role of "child-side", plays the villain. I Confess (1953) is set in Quebec with Montgomery Clift as a Catholic priest.
Peak year: 1954-1964
Play M for Murder and Back Window
I Confess followed by three color films starring Grace Kelly: Dial M for Murder (1954), Back Window (1954), and To Catch the Thief (1955). In Mmy Murder, Ray Milland plays a criminal who tries to kill his unfaithful wife (Kelly) for his money. He killed the assassin to defend himself, so Milland manipulated the evidence to make it look like a murder. His girlfriend Mark Halliday (Robert Cummings), and Hubbard Police Inspector (John Williams) rescued him from execution. Hitchcock experimented with 3D cinematography for Dial M .
Hitchcock moved to Paramount Pictures and filmed Rear Window (1954), starring James Stewart and Kelly again, and Thelma Ritter and Raymond Burr. Character Stewart is a photographer (based on Robert Capa) who must use a wheelchair for a while. Bored, he began to observe his neighbor across the lawn, then became convinced that one of them (Raymond Burr) had killed his wife. Stewart finally managed to convince his police friend (Wendell Corey) and his girlfriend (Kelly). As well as Lifeboat and Rope, the main character is depicted in a limited or narrow space, in this case Stewart's studio apartment. Hitchcock used a close-up of Stewart's face to show his character's reaction, "from comic voyeurism directed at his neighbor to his helpless terror watching Kelly and Burr at the villain's apartment."
Alfred Hitchcock Presents
From 1955 to 1965, Hitchcock was the host of the Alfred Hitchcock Presents television series. With the delivery of drolls, sculptures of humor and iconic images, the series makes Hitchcock a celebrity. The sequence of the show depicts a minimalist caricature of his profile (he draws it himself; it consists of only nine strokes), whose original silhouette is then filled. The series theme song is March of a Marionette Cemetery by French composer Charles Gounod (1818-1893).
His introductions always include some kind of sour humor, as the description of the recent multi-person execution is hampered by having only one electric chair, while the two are shown with the sign "Two seats - no waiting!". He directed 18 episodes of the series, which aired from 1955 to 1965. It became The Alfred Hitchcock Hour in 1962, and NBC broadcast the final episode on May 10, 1965. In the 1980s, a new version of Alfred Hitchcock Presents is produced for television, utilizing the original introduction of Hitchcock in the form of staining.
From To Catch a Thief to Vertigo
In 1955 Hitchcock became a citizen of the United States. In the same year, Grace Kelly's third film, To Catch a Thief , was released; it is set in the French Riviera, and paired with Kelly Cary Grant. Grant plays retired thief John Robie, who became the prime suspect for a spate of robberies on the Riviera. An American heir who sought the sensation played by Kelly guessed his true identity and tried to seduce him. "Despite the obvious age difference between Grant and Kelly and the lightweight plot, intelligent manuscripts (loaded with double entenders) and good acting are proving to be commercially successful." It was Hitchcock's last film with Kelly. She married Prince Rainier of Monaco in 1956, and ended her film career. Hitchcock subsequently re-made his 1934 movie The Man Who Knew Too Much in 1956. This time, it starred James Stewart and Doris Day, who sang the theme song "Que Sera, Sera", who won an Oscar for Best Original Song and became a big hit for him. They play a couple whose son was kidnapped to prevent them from interfering with murder. As in the 1934 film, the climax took place at Royal Albert Hall, London.
The Wrong Man (1957), Hitchcock's final film for Warner Bros., is a low black-and-white production based on the real-life case of the identity errors reported in the magazine's Life of Magazine in 1953 This is the only Hitchcock movie starring Henry Fonda, playing a Stork Club musician who is thought to be a liquor store thief, who was arrested and tried for robbery while his wife (Vera Miles) emotionally fainted under pressure. Hitchcock told Truffaut that his lifelong fear of police drags him to the subject and is embedded in many scenes.
The next Hitchcock movie, Vertigo (1958) starred in James Stewart, this time with Kim Novak and Barbara Bel Geddes. She wants Vera Miles to play the lead role, but she is pregnant. He told Oriana Fallaci: "I offer most of it, the chance to be a beautiful pretty blonde, a true actress.We'll spend a lot of money for it, and she has bad taste to conceive hate pregnant woman, because then they have child. "
In the film, James Stewart plays the role of Scottie, a former police investigator suffering from acrophobia, who developed an obsession with a woman who had been employed for shadowing (Kim Novak). Scottie's obsession leads to tragedy, and this time Hitchcock did not choose a happy ending. Some critics, including Donald Spoto and Roger Ebert, agree that Vertigo is the most private film and reveals the director, dealing with Pygmalion-like the obsession of a man who made a woman. become the woman she wants. Vertigo explores further and much longer his interest in the relationship between sex and death than any other work in his filmography.
Vertigo contains camera techniques developed by Irmin Roberts, commonly referred to as the dolly zoom, which has been copied multiple times by the filmmaker. The film aired at the San Sebastián International Film Festival, where Hitchcock won the Seashell Silver. Vertigo is considered classic, but it draws on a few negative reviews and a bad office-box receipt at the time, and it is the last collaboration between Stewart and Hitchcock. In 2002 Vision & amp; Voice poll, it ranks right behind Citizen Kane (1941); Ten years later, in the same magazine, critics chose it as the best movie ever made. North and Psycho
Hitchcock follows Vertigo with three more successful films, which are also recognized as the best: North by Northwest (1959), Psycho (1960) and The Birds (1963). In North By Northwest, Cary Grant plays Roger Thornhill, a Madison Avenue advertising executive who is suspected of being a government secret agent. He is heavily pursued throughout the United States by enemy agents, including (visible) Eve Kendall (Eva Marie Saint). Thornhill initially believed Kendall to help him, then he was an enemy agent; he finally finds out that he works for the CIA. During the two-week opening at Radio City Music Hall, the film grossed $ 404,056 (equivalent to $ 3,392,041 in 2017), which set a record for where the non-holiday vacation was. Time Magazine calls the movie "subtly and very entertaining".
Psycho (1960) is arguably Hitchcock's most famous film. Based on Robert Bloch's Psycho novel (1959), inspired by Ed Gein's case, the film was produced on a limited budget of $ 800,000 (equivalent to $ 6,617,773 in 2017) and black-and- White on the backup set using crew members from Alfred Hitchcock Presents . The unprecedented violence of the bathing scene, the early death of the heroine, and the innocent life quelled by an uninterrupted killer characterize the new horror movie genre. People love this movie, with lines stretching outside the cinema because people have to wait for the next show. It broke box-office records in England, France, South America, the United States and Canada and moderate success in Australia for short periods.
This film is the most profitable of Hitchcock's career; he personally earned more than $ 15 million (equivalent to $ 124.08 million in 2017). He then exchanged his rights to Psycho and his TV anthology to 150,000 MCA shares, making it his third-largest shareholder and his own boss at Universal, at least in theory, though that did not stop them from interfering. with himher. Following the first film, Psycho became an American horror franchise: Psycho II , Psycho III , Bates Motel , Psycho IV: The Beginning , and a color remake from the original.
Interview with Truffaut
On August 13, 1962, the 63rd Hitchcock, French director Franç§ois Truffaut initiated the Hitchcock 50 hour interview, was filmed for eight days at Universal Studios, where Hitchcock agreed to answer 500 questions. It took four years to write down the tape and set the picture; it was published as a book in 1967 ("hitchbook", as Truffaut called it), and the tape was released as a documentary in 2015. Truffaut sought an interview because it was clear to him that Hitchcock was not just an American media entertainer making it that way. It is clear from his films, Truffaut writes, that Hitchcock has "more thought of his artistic potential than his comrades". He compared the interview with "Oedipus' oracle consultation".
The Birds
Film scholar Peter William Evans writes that The Birds (1963) and Marnie (1964) are regarded as "undeniable magazines". Hitchcock intended to film the first Marnie, and in March 1962 it was announced that Grace Kelly, Princess Grace of Monaco since 1956, would be out of retirement to star in it. When Kelly asked Hitchcock to postpone Marnie until 1963 or 1964, he recruited Evan Hunter, author of The Blackboard Jungle (1954), to develop a scenario based on the short story Daphne du Maurier " The Birds "(1952), the Hitchcock has been re-published in his book My Favorites in Tension (1959). He hired Tippi Hedren to play the lead role. It was his first role; he once modeled in New York when Hitchcock saw it, in October 1961, in an NBC TV commercial for Sego, a diet drink: "I signed it because he is a classic beauty." The movie does not have it anymore. "Grace Kelly is the last. explanation, that his first name was written with single quotes: 'Tippi'.
In The Birds, Melanie Daniels, a young socialite, meets with lawyer Mitch Brenner (Rod Taylor) at a bird shop; Jessica Tandy plays her possessive mother. Hedren visited him at Bodega Bay (where The Birds was filmed) bringing lovers as gifts. Suddenly the waves of birds began to gather, watch, and attack. The question is: "What do the birds want?" not answered. Hitchcock creates movies with equipment from Revue Studio, which creates Alfred Hitchcock Presents . He said it was the most technically challenging film, using a combination of trained and mechanical birds with a wild background. Every shot has been sketched before.
An HBO/BBC television movie, The Girl (2012), describes Hedren's experience on set; she said that Hitchcock became obsessed with her and sexually harassed her. He reportedly isolated him from the rest of the crew, after he followed him, whispered foul words to him, wrote down his handwriting, and built the way from his personal office straight into his trailer. Diane Baker, her co-star at Marnie, said: "[N] could not have been more terrible for me than to arrive at the set and see him treated like he is." While filming an attack scene in the attic - which took a week to shoot - he was placed in a locked-up room while two men in elbow protective gauze threw a live bird at him. By the end of the week, to stop the birds flying away from him too fast, one leg of each bird is bound by nylon threads to elastic bands sewn in his clothes. She broke down after the bird cut her lower eyelids, and the shooting was stopped at the doctor's command.
Marnie
In June 1962, Grace Kelly announced that she had decided not to appear in Marnie (1964). Hedren had signed a seven-year, $ 500 per week contract with him in October 1961, and he decided to play it in the lead role in the presence of Sean Connery. In 2016, describing Hedren's performance as "one of the greatest in the history of cinema", Richard Brody calls the film "the story of sexual violence" caused by the character played by Hedren: "The film, simply, sick, Hitchcock is sick, he suffered throughout his life from angry sexual desires, suffered from his lack of satisfaction, suffered the inability to turn fantasy into reality, and then went ahead and did it virtually, in his art. The 1964 film review of the New York Times called it Hitchcock's "most disappointing movie of the year," citing the lack of Hedren and Connery experience, amateur script and "very fake carton background".
In the film, Marnie Edgar (Hedren) steals $ 10,000 (equivalent to $ 78,906 in 2017) from her employer and keeps running. He applied for a job at Mark Rutland (Connery) in Philadelphia and stole from there as well. Previously he was shown to have suffered a panic attack during a lightning storm and was afraid of red. Mark tracked him down and blackmailed her to marry him. He explains that he does not want to be touched, but during the "honeymoon", Mark rapes her. Marnie and Mark discovered that Marnie's mother had become a prostitute when Marnie was a child, and that, while her mother was struggling with a client during a storm - the mother believed the client had tried to persecute Marnie - Marnie had killed her client. to save his mother. As he fears when he remembers what happened, he decides to stay with Mark.
No longer speaking to him because he has rejected it, Hitchcock seems to refer to Hedren as "the girl" rather than his name. He told Robert Burks, the cinematographer, that the camera should be placed as close as possible to Hedren when he filmed his face. Evan Hunter, author of The Birds who is writing Marnie also, explains to Hitchcock that, if Mark loves Marnie, he will cheer him up instead of raping her. Hitchcock reportedly replied: "Evan, when he put it up, I want the camera right on his face!" When Hunter sent two versions of the script, one without a rape scene, Hitchcock replaced him with Jay Presson Allen.
Years later: 1966-1980
The final movie
Health that failed to reduce Hitchcock's output over the last two decades of its life. Biographer Stephen Rebello claims Universal "forced" two films on him, Torn Curtain (1966) and Topaz (1969). Both are spy thrillers with themes related to the Cold War. Tearing Curtains , with Paul Newman and Julie Andrews, accelerating the end of 12 years of cooperation between Hitchcock and composer Bernard Herrmann. Hitchcock was unhappy with Herrmann's score and replaced it with John Addison, Jay Livingston and Ray Evans. Topaz (1967), based on the Leon Uris novel, is partly set in Cuba. Both films received mixed reviews.
Hitchcock returned to England to make the second film from behind, Frenzy (1972), based on Goodbye Piccadilly's novel Farewell Leicester Square (1966). After two espionage movies, the plot marks a return to the thriller-killing genre. Richard Blaney (Jon Finch), a volatile barman with a history of explosive anger, is a prime suspect in the investigation of "Tie Killings," which is actually done by his friend Bob Rusk (Barry Foster). This time, Hitchcock makes victims and criminals better, than the opposite as in Foreigners on the Railway.
In Frenzy , Hitchcock allows nudity for the first time. Two scenes show a naked woman, one of whom was raped and strangled; Spoto calls the latter "one of the most exterminating examples of detailed murder in film history". The two actors, Barbara Leigh-Hunt and Anna Massey, refused to do the scene, so the model was used instead. The biographers have noted that Hitchcock always pushed the boundaries of film censorship, often set to cheat Joseph Breen, the long-time head of Motion Picture Film Production Code. Hitchcock repeatedly slipped in subtle hints of untruth prohibited by censorship until the mid-1960s. However, McGilligan writes that Breen and the others often realized that Hitchcock incorporated such things and was really amused, and worried by "Inaka's inescapable inference" from Hitchcock.
Family Plot (1976) is the last Hitchcock movie. This relates to Blanche Tyler's "Madame" adventure, played by Barbara Harris, a fraudulent spiritualist, and lover of taxi driver Bruce Dern, earning a living from her false powers. While Family Plot is based on the novel Victor Canning The Rainbird Pattern (1972), the novel tones are more sinister. Screenwriter Ernest Lehman originally wrote the film in a dark tone but was pushed into a lighter and more amusing tone by Hitchcock.
Knight and death
Toward the end of his life, Hitchcock was working on a script for the spy thriller, The Short Night, in collaboration with James Costigan, Ernest Lehman and David Freeman. Despite the preliminary work, it was never filmed. Hitchcock's health declined and he worried about his wife, who suffered a stroke. The scenario was finally published in Freeman's The Last Days of Alfred Hitchcock (1999).
After rejecting CBE in 1962, Hitchcock was appointed Commander of the Excellence Order of the United Kingdom (KBE) in the New Year's Honors 1980. He was too ill to travel to London - he had a pacemaker and was given a cortisone injection for his inflammation - On 3 January 1980, the British consul general presented him with letters at Universal Studios. Asked by a reporter after the ceremony why it had made the Queen for so long, Hitchcock quipped, "I guess it's a careless problem." Cary Grant, Janet Leigh, and others attended lunch afterward.
His last public appearance was on March 16, 1980, when he introduced the winner of the American Film Institute next year. He died of kidney failure the following month, on April 29, at his home in Bel Air. Donald Spoto, one of the Hitchcock biographers, wrote that Hitchcock had refused to see a priest, but according to Jesuit priest Mark Henninger he and other minister, Tom Sullivan, celebrated Mass at the filmmaker's house, and Sullivan heard his confession. Hitchcock survived his wife and daughter. His funeral was held at Good Shepherd Catholic Church in Beverly Hills on April 30, after his body was cremated. His body was scattered in the Pacific Ocean on May 10, 1980.
Maps Alfred Hitchcock
Movie creation
Theme and motif
Hitchcock returns several times to cinema devices such as spectators as voyeur, suspense, wrong man or woman, and "MacGuffin," plot devices essential to characters but irrelevant to the audience. Thus, MacGuffin is always vaguely described (in North by Leo G. Carroll describes James Mason as "importer-exporter").
Hitchcock appears briefly in most of his own movies. For example, he is seen struggling to get a double bass to the train ( Foreigners on the Train), the dog runs out of the pet store ( The Birds ), fixing the neighbor's clock ( Window ( Family Plot ), sitting at a table in a photo ( Dial M for Murder ), and missed the bus ( North by Northwest ). Female representation
Hitchcock's portrayal of women has been a subject of scientific debate. Bidisha wrote in The Guardian in 2010: "There is a vamp, a bum, a complainant, a wizard, a sling, a double crossing, and the best of all, the devil fiend, do not worry, they're all punished in the end." In a much-quoted essay in 1975, Laura Mulvey introduced the idea of ​​a male view; the viewers' view in the Hitchcock movie, he says, is the protagonist of heterosexual men. "The female characters in her films reflect the same quality over and over again," Roger Ebert wrote in 1996. "They are blondes, cold and isolated, they are imprisoned in costumes that are subtly combined with fetishism, they amaze men. often suffering from physical or psychological disabilities. "Sooner or later, every Hitchcock woman is insulted."
The victims at The Lodger are all blond. In The 39 Steps (1935), Madeleine Carroll was handcuffed. Ingrid Bergman, directed by Hitchcock three times ( Fascinated (1945), Notorious (1946), and Under Capricorn (1949)), dark-haired blonde. In the Back Window (1954), Lisa (Grace Kelly) risked her life by breaking into Lars Thorwald's apartment. In To Catch a Thief (1955), Francie (Grace Kelly again) offers to help a man she believes to be a thief. In Vertigo (1958) and North by Northwest (1959) respectively, Kim Novak and Eva Marie Saint play a blonde female hero. In Psycho (1960), the character Janet Leigh steals $ 40,000 (equivalent to $ 330,889 in 2017) and is killed by Norman Bates, a closed psychopath. Tippi Hedren, a blonde, appears to be the focus of the attack on The Birds (1963). In Marnie (1964), the title character, played again by Hedren, is a thief. The last Hitchcock blond hero is Barbara Harris as a fake psychic who turned into an amateur detective in the Family Plot (1976), her latest film. In the same movie, diamond smugglers played by Karen Black wore long blonde wigs in some scenes.
His films often feature characters who struggle in their relationships with their mothers, such as Norman Bates at Psycho . At North by Northwest (1959), Roger Thornhill (Cary Grant) is an innocent man who is laughed at by his mother for insisting that shadow people, murderers are chasing him. In The Birds (1963), Rod Taylor's character, innocent man, finds his world attacked by ferocious birds, and struggles to free himself from an inherent mother (Jessica Tandy). The killer at Frenzy (1972) has a woman's hatred but adores her mother. The criminal Bruno at the Foreigners on the Rail hates his father, but has a very close relationship with his mother (played by Marion Lorne). Sebastian (Claude Rains) at Notorious has a clearly opposed relationship with his mother, who is (indeed) suspicious of his new bride, Alicia Huberman (Ingrid Bergman).
Relationships with actors
Hitchcock is known for saying that "actors are cattle." During filming Tuan. & amp; Mrs. Smith (1941), Carole Lombard took three cows to the set with the label of Lombard, Robert Montgomery, and Gene Raymond, the movie stars, to surprise him.
Hitchcock believes that the actors should concentrate on their appearance and leave work on the script and character to the directors and screenwriters. He told Bryan Forbes in 1967: "I remember discussing with the method actor how he was taught and so on.He said, 'We were taught using improvisation.We were given the idea and then we turned loose to develop any way we wanted.' I said, 'It's not acting, it's writing.' "Walter Slezak said that Hitchcock knew the mechanism of acting better than anyone he knew.
Critics observed that, regardless of his reputation as a person who disliked actors, the actors he worked with often gave brilliant performances. He used the same actors in many of his movies; Cary Grant worked with Hitchcock four times, and Ingrid Bergman three. James Mason said that Hitchcock considers actors to be "animated props". For Hitchcock, the actors are part of the movie setting. He told FranÃÆ'§ois Truffaut: "[T] the head needed for an actor is the ability to not do anything well, which is not as easy as it sounds, he must be willing to be fully utilized and integrated into the picture by the director and camera He should allow the camera to determine the right emphasis and the most effective dramatic highlight. "
Write, storyboard and production
Hitchcock planned his script in detail with his writers. In Writing with Hitchcock (2001), Steven DeRosa notes that Hitchcock oversees them through every draft, asking them to tell the story visually. He told Roger Ebert in 1969:
After the scenario is over, I will not make any movies at all. All the fun ends. I have a very visual mind. I visualize the image up to the final cut. I wrote all of this in the widest detail in the script, and then I did not see the script when I took a picture. I know it with my heart, just as an orchestra conductor does not need to see a score. It's melancholy to take pictures. When you complete the script, the movie is perfect. But in shooting it you lose maybe 40 percent of your initial conception.
The Hitchcock movie extensively has a storyboard with the finest details. He reportedly never bothered to search through the viewfinder, because he did not have to, although in a publicity photo he was shown doing it. He also uses this as an excuse to never change his film from his original vision. If a studio asked him to change the movie, he would claim that it had been taken in one way, and there was no alternative to consider.
This view of Hitchcock as a director who relies more on pre-production than his own actual production has been challenged by Bill Krohn, the American correspondent of the French film magazine Cahiers du cinà © ma ma , in his book Hitchcock at Work . After investigating the revision of the script, notes for other production personnel written by or to Hitchcock, and other production materials, Krohn observes that Hitchcock's work often deviates from how the scenario was written or how the film was originally envisioned. He notes that the myth of storyboards in relation to Hitchcock, often spewed out by generations of commentators in his films, is to a large degree immortalized by Hitchcock himself or the publishing arm of the studio. For example, the famous spraying sequence of plants from North by Northwest is not a storyboard at all. After the scene was filmed, the publicity department asked Hitchcock to create a storyboard to promote the movie, and Hitchcock then hired an artist to match the scene in detail.
Even when storyboards are made, scenes that are shot differ significantly from them. Krohn's analysis of the classic Hitchcock production like Notorious reveals that Hitchcock is flexible enough to change the conception of film during its production. Another example of Krohn's notes is an American remake of The Knows Who Knew Too Much, whose filming schedule begins without a finished script and more than schedules, something which, as Krohn notes, is not an unusual occurrence in many Hitchcock movies, including Strangers on the Train and Topaz . While Hitchcock does a great deal of preparation for all of his films, he is fully aware that the actual filmmaking process often deviates from the best and flexible plans to adapt to changes and production needs because the film is not free from the normal distractions encountered and the common routine used during many production films others.
Krohn's work also highlights the practice of Hitchcock who generally shoots in chronological order, which he claims sends many films over budget and excessive schedules, and more importantly, differs from standard Hollywood operating procedures in the System Studio Era. Equally important is the Hitchcock tendency to take pictures in turn. This differs from the coverage in which the films do not have to be taken from different angles so as to give the editor an option to shape the movie how he chooses (often under the auspices of the producer). Instead they represent Hitchcock's propensity to give himself options in the editing room, where he will advise his editor after seeing a rough piece of work. According to Krohn, this is and much infor
Source of the article : Wikipedia
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