The Twelve Lives of Alfred Hitchcock by Edward White (best finance books of all time TXT) 📕

31, 280

Child, Julia, 130

Christie, John, 35

Churchill, Winston, 263

Cinematograph Films Act of 1927 (British), 260

cinematographic style, of AH, 52, 56, 78, 186–87, 194, 236, 277

Citizen Kane (film), 201

class dynamics, AH’s views on, 77, 137, 217–18, 253, 264, 265, 269

Clift, Montgomery, 112, 154, 181, 209, 285–86

Clouzot, Henri-Georges, 29, 244

Codd, Elsie, 84

Coen brothers, 219

Cohen, Paula Marantz, xii

Cold Dark Matter: An Exploded View (Parker), 196

Coleman, Herbert, 71, 149, 171, 198, 205

Collins, Dale, 169

Comolli, Jean-Louis, 48–49

Compson, Betty, 84

Compton, Fay, 2

Condon, Richard, 179, 270n, 281

Connery, Sean, 104, 270

Connolly, Cyril, 168

Conrad, Peter, 220

Constant Nymph (film), 165

Cook, Whitfield, 118, 124–25, 172, 173–78, 183

Corbett, James, 118

Cornwell, Patricia, 42

Cotten, Joseph, 37, 160–61, 162, 270

Coward, Noel, 52

Cox, Jack, 236

Crane, Marion (char.), 15, 29–30, 39, 49, 141, 182–83, 221, 290

Cribbins, Bernard, 213

Crime and Punishment (Dostoevsky), 74

Crippen, Hawley Harvey, 35, 145

Cronyn, Hume, 71

Crossman, Richard, 47

Crowther, Bosley, 35

Cry Baby (film), 13

Cutts, Graham, 28, 56, 59, 194

Dahl, Roald, 17, 112n

Daily Express, 258, 260

Daily Herald, 117, 259–60

Daily Mail, 261

Daily Mirror, 261

Dalí, Salvador, 20

Dall, John, 153

Dandy (char.), 136–37

“Dandy in Hitchcock, The” (Elsaesser), 133n

Daniels, Melanie (char.), 21–22, 25, 97–98, 151, 211, 269

Darcy, Georgine, 217

Davies, George Llewelyn, 1

Day, Doris, 13, 14, 179, 209

Day, Laraine, 269–70

Day of the Triffids (Wyndham), 228

“Decline of the English Murder” (Orwell), 36

Deller, Jeremy, 196

DeMille, Cecil B., 186

De Quincey, Thomas, 41

Dern, Bruce, 152, 277n, 294

DeRosa, Steven, 90

De Sica, Vittorio, 195

Devane, William, 210

Diaboliques, Les (film), 29

Diaghilev, Sergei, 227

Dial M for Murder (film), 35, 90, 108, 171, 181, 204, 280, 290

Dial M for Murder (Knott), 171

Dick, Douglas, 177

Dick Cavett Show, The, 132

Dickens, Charles, 62

Dietrich, Marlene, 159, 271

Dimmock, Emily, 42

Disney, Walt, 242

documentary films, 47–49, 150, 163, 264–65, 308

“Does Frenzy Degrade Women?” (New York Times article), 107

Donat, Robert, 107–8, 221

Dor, Karen, 247

Douchet, Jean, 55

Downhill (film), 20, 52, 155, 233, 252, 260

Drifters (film), 265

Duchamp, Marcel, 182

Duel in the Sun (film), 104

du Maurier, Daphne, 81–82, 227

du Maurier, George, 94

Durgnat, Raymond, 133, 201, 265–66

Dyson, George, 183

Ealing Studios, 266

Easy Virtue (film), 52, 215, 233–34, 236

Ebert, Roger, 108, 277

Edgar, Marnie (char.), 20–23, 104–7, 109, 141, 151

Edgar Allen Poe Award, 72

Edward VII, King of England, 59, 116

Eisenstein, Sergei, 258

Eisner, Lotte, 28

Elsaesser, Thomas, 133n, 139, 150

Elsom, Mary, 228

Elstree Studios, 52, 215–16

Emerson, Ralph Waldo, 255

Eminem, 45

English character:

AH’s opinions on, 32, 34

AH’s relationship to, 251–58, 268, 293

America and Hollywood as viewed by the English, 260–64, 269

emotional reserve in, 254–55, 274

and food, 116

and interest in true crime, 29, 32–33, 36

masculinity in, 150

secretiveness in, 189–90, 254–55, 263–64

sense of humor in, 216–18, 268

sexuality in, 87, 158, 217

English Hitchcock (Barr), 251

Erickson, Doc, 198

Escoffier, Auguste, 116

Esquire, 38, 41

Evening Standard, 261

Exodus (film), 95

expressionism, influence on AH of, 28, 38, 40, 57, 243, 279–80

Fahrenheit 451 (film), 100

Fallaci, Oriana, 8, 216, 219

Family Plot (film), 65–66, 69, 91, 152, 190, 210, 211, 215, 247, 276, 277, 281, 293, 294, 305

Famous Players-Lasky, xi–xii, 27, 59, 83, 258

Fargo (film), 219

Farmer’s Wife, The (film), 52, 164, 234, 261

filmmaking, AH on, 61, 187, 191, 228, 237, 247, 248–49, 261, 268

as art vs. commerce, 53, 204–6, 219, 233, 246, 248, 259, 262–64

auteur theory of, 55

casuistry, use of, 278–79

comedy, 211

content vs. form in, 235

realism in, 38, 98, 195, 197–98, 211, 244

silent filmmaking principles in, 187, 263

source material in, 65

story structure in, 250–51

suspense vs. surprise in, 17, 78, 242

violence and fear in, 37, 51

films, of AH, see Hitchcock, Alfred, films of

Film Weekly, 61, 107

Fincher, David, 134, 210

Fonda, Henry, 163

Fontaine, Joan, 82, 87, 108, 112, 239

Forbes, Bryan, 51

Foreign Correspondent (film), 70, 123, 191–92, 267, 269–70

Forever and a Day (film), 46

Forster, E. M., 89

Fox, Kate, 217

Frankenheimer, John, 95

Freeman, David, 103, 106, 152, 180

Fremstad, Olive, 118

French Chef, The (television series), 130

French Resistance, 47

Frenzy (film), 51, 107, 123, 145n, 198, 248, 250–51, 256, 276, 293

London’s influence on, 259, 273–74

as reprisal of The Lodger, 51, 250–51

Freud, Sigmund, 18–19, 199

Frohman, Charles, 1

Gainsborough Studios, 28, 212, 271

Galenson, David, xiv

Galsworthy, John, 73

Gardiner, Juliet, 271–72

Gassmann, Remi, 242–43

Gaumont-British, 81, 235

Gavin, John, 35

Gein, Ed, 29

Gentlemen Prefer Blondes (film), 96

George IV, King of England, 137

German film industry, influence on AH of, 60–61, 243, 258–60, 279

Germany, AH’s trips to, 28–29, 60–61, 218, 243, 258–60, 262, 279

Germany, Nazi, 46–50, 308

Germany, Weimar, 12, 61, 117

Get Out (film), 211

Gibson, Charles Dana, 118

Gibson Girl, 118

Gielgud, John, 165, 207–8, 221

Gilliat, Sidney, 64

Girl, The (film), 100

Girl on the Train, The (film), 210

Goble, Mark, 248

Goldsmiths College, University of London, 7

Gone Girl (film), 210

Goodbye Piccadilly, Farewell Leicester Square (La Bern), 274

Good Housekeeping, 118

Goold, Robert, 225

Gordon, Douglas, 196

Gottlieb, Sidney, 183

Graham, Winston, 105

Granger, Farley, 153, 155, 192, 209

Granger, Stewart, 140

Grant, Cary, 29, 54, 68, 140, 172, 217, 252, 268

as AH’s fantasy version of himself, 145–46, 148, 150, 188

as AH’s idea of maleness, 114, 145–46, 150, 151–52, 154–55, 188

in North by Northwest, 19, 34, 143, 144, 150, 218, 232, 270

in Notorious, 85, 219

style of, 140, 143–46, 144

in Suspicion, 32, 112, 282

in To Catch a Thief, 90, 145

Granton Trawler (film), 265

Greeley, Andrew, 282

Green, Hilton, 241

Greene, Graham, 74, 267, 280

Greene, Lawrence, 67

Greenwood, Edwin, 136–37

Grierson, John, 264–65, 273

Grierson, Ruby, 265

Griffith, D. W., 11, 58, 256

Guardian, 32, 106

Guernsey, Otis, 190

Haas, Dolly, 195–96

Halsman, Philippe, 230, 231

Hamilton, Patrick, 154

Hamlet (Shakespeare), 80

“Happy Ending” (Cook), 174

Harrison, Gilbert, 277–78

Harrison, Joan, 62–63, 70, 86, 116, 176, 221–22

Hasse, O. E., 286

“Have You Heard?” (photo-essay), 207n

Hawks, Howard, 54

Hayes, Harold, 38

Hayes, John Michael, 65, 71–73, 76, 97, 187, 218, 219, 274

Haymarket Theatre, 1

Hayward, Leland n, 62

Head, Edith, 128, 141–42, 145

Hearts of the World (film), 58

Heath, Neville, 245

Hecht, Ben, 22, 85, 86, 118

Hedren, Tippi, 112, 255

AH’s alleged sexual assault of, 99–103, 175–76

AH’s interactions with, 97–98, 189, 212–13

in Marnie, 21, 99, 101, 104–5, 109, 291

in The Birds, 13, 98, 108, 151, 291

Hennessy, Peter, 189

Henninger, Mark, 293–95

Hepburn, Audrey, 227

Herald (Melbourne), 229

“Her First Island” (Cook), 176

Herrmann, Bernard, 2, 226, 240, 242, 243, 247

High Anxiety (film), 216

Highsmith, Patricia, 77

Hill, Emily (char.), 169–70

Hill, Fred (char.), 169–70

Hillman, June, 55–56

Hindley, Myra, 15

“History of Pea Eating, The” (Hitchcock), 212

Hitchcock (Chabrol and Rohmer), 54

Hitchcock, Alfred, iv, 12, 33, 56, 68, 75, 88, 92, 93, 101, 113, 125, 131, 138, 144, 157, 167, 173, 185, 220, 231, 238, 256, 262, 272, 282, 294

abusive behavior by, see actors, AH’s abuse of

auteur theory of, 53–55, 80

and censors, 3, 46, 53, 153, 155, 245

and children, 13, 17–18, 205

and collaboration with technicians, 57, 58, 63, 193, 226, 236, 240-43

cross-dressing by, 155, 157, 158

death of, 278, 289

dinner parties