The Art of Alfred Hitchcock: Fifty Years of His Motion Pictures
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This completely revised and updated edition of the classic text describes and analyzes every movie made by master filmmaker Alfred Hitchcock.
Havis Davenport and Anthony Ward. To Catch a Thief (A Paramount Picture; prod. 1954/rel. 1955) P: Alfred Hitchcock. Sc: John Michael Hayes, b/o the novel by David Dodge. DP: Robert Burks. Second-unit director: Herbert Coleman. AD: Hal Pereira, Joseph MacMillan Johnson. SE: John P. Fulton. Second-unit DP: Wallace Kelley. Process photography: Farciot Edouart. S: Sam Comer, Arthur Krams. Ed: George Tomasini. ad: Daniel McCauley. M: Lyn Murray. W: Edith Head. Int: Paramount. Col. Cast: John
which to balance a story whose theme is the search for real identity and the concomitant deception of appearances. Here, the accused is an actress, the hero a playwright-actor, the murderer an acrobat-actor; in addition, Hitchcock gives his leading lady a character name identical to her real name (Baring). Throughout, the script cross-relates the relationship between art and life: “This is not a play,” Sir John tells Diana. “This is life!” And to get at “nothing but the truth” (the title of a
wins the final “match” and saves the daughter she casually dismissed by shooting him from a London rooftop. The evening after the opening match, the Lawrences dine in the hotel ballroom and Jill dances with Louis Bernard. A shot is fired, and the Frenchman dies in Jill’s arms—but not before uttering an odd request: “In my room—a brush—tell Bob to take it to the British consul—and don’t breathe a word to anyone!” Moments later, Betty is kidnapped, taken hostage so that the Lawrences will reveal
night and calmly strangling her. He then contacts his “friend” Guy, demanding that he keep his side of the deal. When Guy refuses, recognizing Bruno as an authentic psychopath, Bruno decides to implicate him in Miriam’s murder by placing at the scene of the crime Guy’s cigarette lighter, left behind after luncheon on the train. After a race against time to win an important tennis match, Guy hurries to the amusement park to stop Bruno. The two men fight on a carousel that breaks down and kills
reading the first draft of the book, generously offered to contribute a foreword. Hers was one of several friendships that—like unexpected benedictions—came from this project. For this later edition, of course, I also had the benefit of the dozens of interviews I later conducted between 1980 and 1983, during research for The Dark Side of Genius. That list, too long to be repeated here, contains the names of many more whose contributions remain memorable. Hundreds of hours, of course, were also