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

in prison by, 8–9, 26, 222

Hitchcock Baker Productions Ltd., 61

Hitchcock brand (Hitchcock touch), xii, xiv, 63, 70, 76, 146, 202, 206, 238–39, 248–49

AH’s use of physical self in, xii, 111, 114, 125, 226, 228–32, 293

in collaborations with writers, 64–80

side projects and spinoffs, 62–63

“Hitchcock Gives Free Rein to the Gentle Sex” (TV Guide), 94

Hitchcock Motifs (Walker), 199

Homolka, Oscar, 17

homosexuality, in films of AH, 153–58

Hopper, Edward, 197

Hopper, Hedda, 7, 95

Hoskins, Gladys Anne, 168

House by the Railroad (Hopper), 197

Houseman, John, 253

Housing Problems (film), 265

Howrah House, 5

Huberman, Alicia (char.), 85

Hunter, Evan, 64, 71, 76, 79–80, 105–6, 146, 230

Hurley, Neil, 291

I Confess (film), 9, 163, 181, 196, 209

Iles, Frances, 62

Infinity of Mirrors (Condon), 179

influenza pandemic, 24

Innes, Hammond, 66

Inspiration (film), 182

Interpretation of Dreams, The (Freud), 18–19

Irish Civil War, 263, 287

Islington Studios, 27

“It Had to Be Murder” (Woolrich), 71

Ives, Irene, 93

Iwerks, Ub, 242

Jack the Ripper, 40, 41, 51, 248, 250

Jamaica Inn (film), 64, 136, 209

James, Clive, 213

Jane Eyre (Brontë), 81

Jansen, Cornelius, 288–89

Jaws (film), 246

Jeffries, L. B. “Jeff” (char.), 185–89, 198, 200, 201, 255, 292

Jepson, Selwyn, 173

Johnson, Lyndon, 246

Johnston, Alva, 121

Jones, Jennifer, 104

Joyce, James, 278

Jung, Carl, 19

Juno and the Paycock (film), 73, 81, 263, 287

Juno and the Paycock (O’Casey), 73, 81, 263

Kaleidoscope (film), 245–46

Kauffer, E. McKnight, 56, 63

Kelly, Grace, 29, 145

as AH’s ideal woman, 90–91, 95–97

AH’s interactions with, 90, 95, 99, 118, 127–28, 171, 181, 227

in Dial M for Murder, 35, 108, 181, 280

in Rear Window, 90–91, 93, 108–9

Kennedy, John F., assassination of, 39

Kieling, Wolfgang, 49

King and I, The, (film), 66

Kissinger, Henry, 246

Klee, Paul, 195

knighthood, of AH, 273–74, 277

Knott, Frederick, 90, 171

Konstam, Phyllis, 164

Krohn, Bill, 184–85, 192

Kuleshov, Lev, 187

Kuleshov effect, 187

La Bern, Arthur, 274

Lady Vanishes, The (film), 46, 64, 158, 200, 207, 233, 247, 271, 290

Lambert, Gavin, 196

Landau, Martin, 143, 155–56

Landis, Jessie Royce, 146

Landis, John, 152

Last Laugh, The (film), 28

Laughton, Charles, 136, 209, 273

Laurents, Arthur, 11, 153–54, 171, 174

Lean, David, 273

Leff, Leonard, 232

Legion d’honneur, awarded to AH, 273

Lehman, Ernest, 65–69, 70, 80, 106, 149, 190, 232, 305

Leigh, Janet, 29–30, 35, 42, 44, 63, 145n, 228

Leigh, Vivien, 82

Leigh-Hunt, Barbara, 51, 145n, 274

Leighton, Margaret, 213

Lejeune, C. A., 16–17, 266–67

Leopold and Loeb case, 153

Lewis, Wyndham, 168

Leytonstone, England, 3, 252, 279

Liberace, 140

Life, 163, 170, 207n

Lifeboat (film), 110–11, 122, 123–24, 218, 234

Lloyd, Norman, 16, 62–63, 241, 266

Lloyd’s of London (film), 267

Lodger, The (film), xii, 40, 41, 52, 55–58, 62n, 63, 89, 91, 258–60

critical response to, 205, 259–60

gay subtext in, 154–55

London’s influence on, 252, 254, 255, 259, 277

as precursor of Frenzy, 51, 250–51

publicity for, 230–32

themes and symbols in, 42–43, 163, 284, 292

Lodger, The (Lowndes), 40, 41

Logan, Joshua, 71, 185

Lombard, Carole, 170, 208

London (film), 260

London, AH’s relationship with, 234, 250–75

London County Council School of Marine Engineering and Navigation, 6–7

London Evening News, 261

London Film Society, 207, 258

London in the Twentieth Century (White), 271

London Life, 130

Look, 129–30

Los Angeles Times, 127

Lowndes, Marie Belloc, 40, 41

Lynley, Carol, 282

Macfadden, Bernarr, 119

MacGuffin, AH’s use of, 219, 268

MacLaine, Shirley, 119, 183, 280

MacPhail, Angus, 73

Mad Men (television series), 232

male gaze, 182–85

Malice Aforethought (film), 62

Malice Aforethought (Iles), 62

Maloney, Russell, 10

Mann, Philip, 139

Man Running (Jepson), 173

Mansfield, Richard, 41

Man Who Never Was, The (Montagu), 190

Man Who Knew Too Much, The (1934 film), 14, 34, 45–46, 70, 81, 190, 271

children in, 13–14

London’s influence on, 252, 255, 263

themes in, 45–46, 111–12, 163, 247

Man Who Knew Too Much, The (1956 film), 13, 152, 179, 191, 202, 209, 252, 280

children in, 13–14

Hayes as screenwriter for, 72–73, 274

London’s influence on, 252, 274

themes in, 14, 111–12, 163, 247

Manxman, The (film), 52, 85, 163

Marnie (film), 7, 99, 101, 227, 244, 270

critical response to, 104–7, 109, 184, 245

Hedren in, 21–22, 99–103, 101, 151

style of, 248–49

themes in, 20–22, 105–9, 141, 151, 184, 291

Marnie (Graham), 105

Mary (film), 81

Mary, SS, 88

Mary Rose (Barrie), influence on AH, 1–3, 25

Mason, James, 143

Mastering the Art of French Cooking (Child), 130

Matisse, Henri, 281

Maxwell, John, 52

MCA, 204, 246

McCall’s, 127

McCrea, Joel, 123, 269

McEwen, Todd, 143–45

McGilligan, Patrick, 60, 102, 156–58, 175, 225, 289, 293–95

McKittrick, Casey, 121

Men of the Lightship (film), 47

Men Who Made the Movies, 180

#MeToo movement, 102, 104

Metropolitan Museum of Art, 197

MGM, 192

Michelson, Harold, 242

Midsummer Night’s Dream, A (Shakespeare), 219

Mieris, Willem van, 182–83

Miles, Vera, 95, 141, 163

Miller, D .A., 199–200

Miller, Edwin, 99

Miss Marple (char.), 36

Modleski, Tania, 109

Monroe, Marilyn, 96–97

Montagu, Ewen, 189–90

Montagu, Ivor, 56–58, 81, 189–90, 205–6, 234, 258–59

moors murders, 15

Morfield, June, 94

Morgan, Phillip (char.), 134, 137, 244

gay subtext of, 153–54

Morton, Michael, 84

Motion Picture News, 164

Motion Pictures Production Code, 245

Motion Picture Studio, 61

Mountain Eagle, The (film), xii, 55, 59, 260

Mount Rushmore, 67

Mr. and Mrs. Smith (film), 170, 208

Mrs. Peabody (or Number Thirteen) (unfinished film), 27, 84

Mulvey, Laura, 184

Mumy, Bill, 6

Munson, Audrey, 182

murder:

relationship of creativity to, 39, 43–45, 51, 134

relationship of sex to, 35

Murder! (film), xiin, 25, 81, 155, 166, 185, 217–18, 252

Murnau, F. W., 28, 258

Museum of Modern Art, AH retrospective at, 79

Music to Be Murdered By (Eminem), 45

Muybridge, Eadweard, 182

“My Screen Memories” (Hitchcock), 61

Mystery Writers of America, 72

Nabokov, Vladimir, 79

National Film Theatre, 51

Natwick, Mildred, 219

Neame, Ronald, 52–53, 190

Newman, Paul, 49–50, 148, 209, 255–56

Newton, Charlie (char.), 160–61, 240, 290

Newton, Emma (char.), 160–61

New Yorker, The, 10, 64, 215, 219

New York Times, 34, 35, 72, 105, 107, 120, 136, 140

New York World-Telegram, 192

Niagara (film), 96

Nine till Six (film), 165

No Bail for the Judge (unfinished film), 227

Nocturnal Animals (film), 210

Normand, Mabel, 83

North by Northwest (film), 7, 19, 63, 66–69, 80, 211, 215, 232, 247, 250, 252

crop-duster scene, 192

Grant in, 19, 143–46, 144

homosexual subtext in, 155–56

Mount Rushmore in, 67, 197, 218

Saint in, 142–43, 148

themes in, 34, 190, 270, 290

working titles for, 67

Nosferatu (film), 117, 258

Notorious (film), 97, 118, 207, 211, 219

Bergman in, 91, 92, 109

Grant in, 85, 219

innovative techniques in, 44–45

themes in, 85, 91, 109, 111, 164, 282

Novak, Kim, 78, 94–95, 107, 179

clashes with AH, 95, 142, 151

Novello, Ivor, 155, 234, 260, 284

Nude Descending a Staircase (Duchamp), 182

Number Seventeen (film), 81, 156, 215, 252

Number Thirteen (or Mrs.Peabody)(unfinished film), 27, 84, 265

Nuremberg trials, 48

Oakley, Charles (Uncle Charlie; char.), 160–61, 277, 290

“Oath Against Modernism” (Pope Pius X), 285

O’Casey, Seán, 73, 263

Olivier, Laurence, 82, 273

Olsen, Chris, 13

Olsson, Jan, 124, 127, 129

Once Upon a Midnight (radio program), 62n

Ondra, Anny, 85, 212, 238

“On Murder Considered as One of the Fine Arts” (De Quincey), 41

On the Waterfront (film), 95

Operation Mincemeat, 189–90

Ormonde, Czenzi, 77, 86

Orwell,