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

George, 36, 217

Oscars, see Academy Awards

Our Town (Wilder), 162

Owen, Wilfred, 255

Pageant, 207

Paradine Case, The (film), 109, 133, 163, 179

Paramount, 72, 181, 186, 198, 205, 280

Parker, Cornelia, 196–97

Parker, Dorothy, 86, 233

Pascal, Gabriel, 104

Paul VI, Pope, 285

PBS, 48

Peabody Trust, 265

Peck, Gregory, 20, 109, 133, 241

Peckinpah, Sam, 51

Peele, Jordan, 210–11

Pengallan, Humphrey (char.), 136

Perils of Pauline (film), 108

Perkins, Anthony, 210, 228

Peter Pan (Barrie), 1

Phantom Thread (film), 96–97

Phoenix, Joaquin, 40

Photoplay award, 99

Picasso, Pablo, xiv

Pickford, Mary, 84

Picture of Dorian Gray, The (Wilde), 38

Pilbeam, Nova, 14

Pinter, Harold, 65

Pius X, Pope, 285

Pleasure Garden, The (film), xii, 27, 55, 59, 88, 89, 178, 259–60

lesbian subtext in, 156–57

themes in, 28–29, 184, 281

Poe, Edgar Allen, 11, 154

Poppins, Mary (film), 242n

Preminger, Otto, 95

Pre-Raphaelite Brotherhood, 280

Pride, Margaret, 258

Pritchett, V. S., 71

Private Life of Henry VIII, The (film), 267, 273

producers, AH’s conflicts with, 3, 57, 66, 82, 110, 121, 122, 133, 149, 232, 267

propaganda films, of AH, 46–49, 261, 308

Prude’s Fall, The (film), 28

Psycho (Bloch), 29, 38

Psycho (film), 3, 98, 111–12, 178, 197, 218, 226–30, 241, 242, 246, 252

advertising campaign for, 228–30, 232

critical response to, 30, 35, 199, 226–27, 248

Leigh in, 42, 44, 145n

shower scene, 15, 29–31, 35, 37–45, 44, 49–50, 63–64, 140–41, 196, 221

themes in, 20, 22, 49–50, 182–83, 248, 282–84, 291

Psycho (1998 remake of AH film), 17

psychoanalysis, AH’s interest in 22–23

Pudovkin, Vsevolod, 258

Pulitzer Prize, 162

Quintino, 143

Rabwin, Marcella, 104, 128

“Raffles and Miss Blandish” (Orwell), 36

Rainbow Pattern, The (Canning), 65–66

Rainier, Prince of Monaco, 95

Rains, Claude, 85

Randolph, Elsie, 222

Raphaelson, Samson, 123, 156

Rear Window (film), 90, 91, 93, 178, 184–89, 188, 198, 217, 219, 234

color in, 141, 280

copyright dispute over, 64–65

Greenwich Village used as location for, 185, 198–99, 255

screenplay of, 64–65, 71–72

themes in, 108–9, 181–82, 184–87, 201, 255, 292

Rebecca (du Maurier), 81–82

Rebecca (film), 81–82, 87, 97, 108, 133, 192, 218, 239, 266–67, 284

Redgrave, Michael, 207–8

Reduco Obesity Slayer, 111, 122, 124

Reed, Rex, 15

Renfro, Marli, 29

Reville, Alma (wife), 9, 11, 56, 88, 139, 156, 167, 173, 268, 269, 285, 293

as AH’s collaborator, 59–60, 65, 73, 84, 86–89, 97–98, 128, 164, 176–80, 235, 271

AH’s proposal and wedding to, 60, 164, 280, 285

AH’s relationship with, 60, 87–89, 91, 117–18, 131–32, 158, 159–60, 168–70, 176–77, 180, 223–24, 276, 289, 292, 295

childhood of, 58–59

Cook’s relationship with, 174–78, 183

first meeting of AH and, 27, 59

health problems of, 22, 59, 131–32, 179, 180, 276

homelife of AH and, 86–87, 128–32, 147–48, 164–68, 170–72

as influence on films of AH, 165, 166

separate film career of, 58, 164–65, 179

Reville, Lucy, 58

Reville, Matthew, 58

Revolting Rhymes (Dahl), 18

Rich and Strange (Collins), 169–70

Rich and Strange (film), 81, 111–12, 169–70, 222, 233, 252, 254

Richardson, Ralph, 207

Ring, The (film), 52, 234, 236, 252, 284

Ritter, Thelma, 91, 219–20

Robertson, Peggy, 29, 86, 103–4, 146–47, 171, 213

Rohmer, Eric, 54

Roman, Ruth, 209

Romm, May E., 22

Room with a View, A (Forster), 89

Rope (film), 11, 124, 134, 137, 159, 184, 192, 234, 235–36, 255

homosexual context of, 153–54, 155, 177

publicity for, 244

unbroken scenes in, 133–34, 153, 244

Rope (Hamilton), 154

Rose, Helen, 142

Ross, Anita, 84

Rossellini, Roberto, 95

Rothman, William, 106, 109

Roud, Richard, 54–55

Rowlandson, Thomas, 256

Royal Academy of Arts, 280

Royal Academy of Dramatic Arts (RADA), 159, 173

Royal Magazine, 36

Russell, Lillian, 118

Rutland, Mark (char.), 104–7, 109

Sabotage (film), 15–17, 46, 164, 217, 252, 254, 271, 279

critical response to, 16–17

Saboteur (film), 62, 86, 192, 197, 233, 290

Statue of Liberty in, 197

Sacrilege (Deller), 196–97

Said, Edward, 247

Saint, Eva Marie, 34, 95–96, 112, 142–43, 146, 148

St Ignatius College, 5, 225, 278–79, 284, 289, 291

St. Vitus dance (Sydenham’s chorea), 59

Sala, Oskar, 242–43

Salesian College, 5

Salomé (Wilde), 37–38

Sardou, Victorien, 108

Sarris, Andrew, 226–27

Saturday Evening Post, 121

Schreiber, Taft, 62n

Scorsese, Martin, 276–77

Screen Directors Guild, 220

screenwriters, AH’s conflicts with, 64–80, 90

Secret Agent (film), 45–46, 87, 89, 165, 207, 221

Selznick, Daniel, 104

Selznick, David O., 104, 110, 136, 148

AH’s conflicts with, 57, 66, 82, 121, 132, 133, 232, 267

as producer of Rebecca, 81–82, 267

as producer of Spellbound, 22, 232

Selznick, Myron, 62

Selznick International Pictures, 121

Seventeen, 99

Seven Year Itch, The (film), 96

sexism, in film industry, 83–84, 103–4, 106–7, 166, 180

Shadow of a Doubt (film), 32, 37, 74–76, 107, 121–22, 160–63, 172, 191, 239–40, 290

Shaffer, Anthony, 123

Shakespeare, William, 34, 206, 208, 219

Shamley Productions, 246

Shaw, Brandon (char.), 134, 136, 244

gay subtext of, 153–54

Sherwood, Robert, 267

Short Night, The (unfinished film), 106, 180

Shourds, Carol, 159, 241

Sickert, Walter, 42

Siege of Sidney Street, 263

Sight & Sound, 54, 201

silhouette, of AH, xii, xvi, 114–16, 132, 321

Skin Game, The (film), 73, 81, 164, 237, 263

Skin Game, The (Galsworthy), 73, 81

Skot-Hansen, Mogens, 270

Slezak, Walter, 110

Sloan, Jane, 50

Smith, H. Allen, 120

Solitaire (Van Druten), 172

“Sophistication of Violence” (Hitchcock), 41

Spellbound (film), 20, 22, 62, 91, 133, 141, 218, 232, 290

Spielberg, Steven, 190

Split (film), 210

Spoto, Donald, 7, 86, 100, 169, 199, 284, 293

Stage Fright (film), 91, 109, 159, 173, 174, 178, 181, 271

Stannard, Eliot, 64, 69–70

Star Wars (film), 246

Stefano, Joseph, 22

Stein, Gertrude, 62

Steinbeck, John, 76–77, 110

Steinberg, Herb, 213

Stevenson, Robert Louis, 41

Stewart, James, 29, 145, 209, 235, 241

as AH’s idea of maleness, 151–52, 155

as man of reaction, 188–89

in Rear Window, 185–89, 188

in The Man Who Knew Too Much, 13, 14, 152

in Vertigo, 19, 78, 90–91, 94, 142, 187–89, 239

Stoppard, Tom, 65

Story, Jack Trevor, 218, 219

Strange Case of Dr Jekyll and Mr Hyde, The (Stevenson), 41

Strangers on a Train (film), 86, 159, 178, 200, 209, 224

Chandler’s rejected screenplay for, 77–79, 86

gay subtext in, 155

themes in, 37, 282, 290

Strangers on a Train (Highsmith), 77–78

suffragettes, 83

Sullivan, Thomas, 293–95

Susannah and the Elders (van Mieris), 182

Suspense (radio program), 62n

Suspense Stories, 200

Suspicion (film), 32, 112, 123, 282

Svengali (char.), AH compared to, 82, 94

Swerling, Jo, 76

Sydenham’s chorea (St. Vitus dance), 59

Taft, William Howard, 118

Taking of Pelham One Two Three, The (Godey), 69

Tanner, Peter, 47–48

Target for Tonight (film), 47

Tatler, 104

Taxi Driver (film), 276–77

Taylor, John Russell, 8, 24, 25, 100, 119

Taylor, Rod, 21–22

Taylor, Samuel, 65, 70, 137, 204

television, AH in, 62–63, 202–5, 226, 241, 265, 270, 281, 334

see also Alfred Hitchcock Hour, The; Alfred Hitchcock Presents; Alfred Hitchcock Show, The

“Telltale Heart, The” (Poe), 154

Temple, Shirley, 174

Tester, Desmond, 217

Tetrazzini, Luisa, 118

Theatre Arts, 192

themes, of AH’s films, 84

ambiguity, 107

anxiety, 7, 39, 95, 277

class dynamics, 217–18, 263, 264, 269, 274

cross-dressing, 155, 157, 158

disassociation, 24

doppelgängers and doubles, 84, 150, 161, 215

dreams, 18–20, 77, 291

eating and drinking, 112

fears and phobias, 7, 9–10, 37

guilt and shame, 20, 29, 52, 277, 287–91

happy home, destruction of, 161, 163–64

homosexual subtext, 153–58

incest, 23, 161

innocent