Crime, mystery, suspense. 15 BEST ALFRED HITCHCOCK MOVIES

There is no other director like Alfred Hitchcock who has had such a huge impact on future generations. Today, virtually any gripping film can be called a hitchcockian thriller and everyone knows what it’s about. It’s as if he was the originator of the genre. He, however, from the thriller, which was a lower-class genre, brought out all the quintessence, shaped it so strongly that the genre began to be associated with a real cinematic experience, that is, a generator of suspense, emotion and fear. It’s difficult to count the director among the masters of detective fiction, because detective fiction is associated with puzzles, and Hitchcock wasn’t interested in puzzles. He was concerned with the effect of suspense, which is the hallmark of a thriller. In his view, suspense is not achieved with final twists, but by grading the tension throughout the film, thus laying out the various cards slowly, even if it means giving the identity of the murderer too early.

The London-born filmmaker has made more than fifty films in fifty years (I’m not counting shorts and TV series episodes). His sizable filmography suggests that he was a craftsman rather than an artist. And indeed, he made many craftsmanlike pictures, but most such can be found in the early part of his career. This can be explained as a search for a creative path, practicing the art of staging and forming a style. I decided to choose fifteen of the approximately forty Hitchcock films I have seen. The choice is subjective, but rather devoid of controversial proposals – most of the films are productions known and appreciated by numerous audiences. Chronological order – I think it makes sense, as this order of viewing illustrates well how the director formed his character and perfected his craft.

1. The 39 Steps (1935)

Hitchcock’s finest film of the 1930s. Although some still appreciate the picture The Lady Vanishes (1938), based on the short story The Wheel Spins by Ethel Lina White, this film – although technically excellent – didn’t provide me with a great deal of entertainment. The lengthy introduction and absurd coincidences weakened the level of suspense. The 39 Steps is, in my opinion, a more coherent and thoughtful production, but also a landmark in Hitchcock’s career. The director learned from the moderately successful The Man Who Knew Too Much (1934), and the result is a near-perfect spy thriller, where the protagonists follow a tightrope-like path from point A to point B, encountering numerous obstacles. Aided by Charles Bennett’s text, Hitchcock portrayed the character of an everyman accidentally entangled in a murder plot. The relationship between the pair of main characters is reminiscent of screwball comedies popular at the time.

Years later, it would turn out that the themes presented in this film interested the director the most, as he still returned to them more than once. But despite the fact that he later created a mass of masterpieces, this modest film from the 1930s still holds a high level. The contributions of the actors should not be overlooked either. Madeleine Carroll and Robert Donat capitalized on the film’s success quite differently. For the actress, a star of British cinema, the role became a ticket to Hollywood (although she had already scored a performance at John Ford’s). Robert Donat, on the other hand, could have had a career in the U.S. after playing the Count of Monte Christo in the 1934 American adaptation, but his performance at Hitchcock’s made the actor decide to stay in England. And he won an Oscar for his role in an English film (Goodbye, Mr. Chips, 1939).

2. Rebecca (1940)

Whether this film deserved the Academy Award for Best Picture is a matter of debate. Although the award was accepted by producer David Selznick, above all, the Academy should be applauded for recognizing mastery in a director who was just beginning his career in the United States. Time has shown that he was an outstanding filmmaker, making quality films and choosing very good literary material, which gives a lot of opportunities to both director and actors. Daphne du Maurier is one of the more interesting English writers, and Hitchcock – perhaps because of her English background – was able to perfectly transfer the Cornish atmosphere of her books to the screen, combining sensuality and darkness (Jamaica Inn, despite its weaker ratings, is also a successful screen adaptation).

The cast of Rebecca is dominated by actors with British roots, so that the influence of the American studio (Selznick International Picture) isn’t strongly perceptible. The result is a stylish and dark gothic melodrama with an interesting mystery plot. The screenplay was written by Robert E. Sherwood (American playwright with three Pulitzer Prizes) and Joan Harrison (Hitchcock’s secretary since 1933). From today’s perspective, the director’s most interesting move is the abandonment of flashbacks, making the title female character largely mysterious and fascinating.

3. Shadow of a Doubt (1943)

From what I’ve noticed, the film isn’t very appreciated by modern audiences, but in my opinion, the director here showed absolute mastery in terms of technique, creativity and leading the actors. In the publication Film Art: An Introduction David Bordwell and Kristin Thompson confirmed the class of Hitch giving examples of this movie. They chose a seemingly trivial scene, which they analyzed, paying attention to significant details. Not a word is uttered just to fill screen time – everything is thought out in every detail and has a deeper meaning in the context of the entire work. On the surface, this film gives the impression of being the least experimental of all Hitch movies from the 1940s, but the intelligent character conflict described in the script (which was co-written by the director’s wife Alma Reville) was an opportunity for the master of suspense to create a formally complex thriller.

The source of tension is the contrast between the peaceful province and the murderer who enters its world. This picture, which isn’t devoid of virulent irony, is like a time capsule that reveals the cynicism, hypocrisy and anxieties of wartime. Joseph Cotten plays the most important role in his career, and Teresa Wright, who has earned Oscar nominations for all (!) of her previous roles, captivates with her charm and naturalness. The camera work perfectly emphasizes the mental state of the characters, you can constantly sense the atmosphere of danger and uncertainty.

4. Notorious (1946)

Spellbound, Notorious and Under Capricorn – these films are united, in addition to the name of the director, by the name of the outstanding actress Ingrid Bergman. The second title is the best of the bunch, both in terms of expressive acting and the film’s content, seemingly sensational and unbelievable, but hiding psychological depth. A post-World War II world imbued with cynicism, paranoia and distrust, as if on the threshold of another war, symbolized by uranium reserves hidden in wine bottles.

On one side traitors, on the other Nazi scumbags, and in the middle two spies circling between love and duty. Agential activity here has nothing to do with adventure, it’s a harsh experience evoking above all a feeling of bitterness. The film was initially made under the supervision of David Selznick, but Hitchcock luckily managed to break free from his influence and take a job as a producer. The result was a cinema that was narratively and stylistically unusual, but not yet fully mature. In the 1940s, the creator of Notorious undertook quite risky projects, gaining a reputation as an ambitious artist, but not yet a fully formed director.

In my mind I built false images and sat in front of them. I never had the courage to demand the truth.

> Daphne du Maurier, Rebecca

5. Stage Fright (1950)

Hitchcock’s first colorful works, Rope (1948) and Under Capricorn (1949), were total failures at the cinema box office. They were also the only pictures made under the banner of the Transatlantic Pictures label, founded by Alfred Hitchcock and Sidney Bernstein. The partnership failed, and while the aforementioned films are rated better today, it was a failure that was fully justified. Excessive theatricality and a heavy focus on the formal side instead of intrigue resulted in bankruptcy. Fortunately, this didn’t stop Hitchcock’s career, and he set his next film in London, including at the prestigious theatrical academy of the Royal Academy of Dramatic Art. Although today this film isn’t well remembered, it’s worth knowing, because the features of Hitchcock’s work here exemplarily combine into a neat whole.

Using elements of melodrama and detective fiction, the director portrays a hypocritical society with his keen and ironic eye. It’s significant that by showing lies he also cheats, by including a flashback to confuse the viewer. The tension has been created very ingeniously, motifs have been introduced that are the key to interpretation, for example, the motif of the theater symbolizing interpersonal contacts full of insincere confessions, artificial words and acting tricks. The film starred Marlene Dietrich, but my words of appreciation must go to Jane Wyman, who, fresh from winning an Oscar for Johnny Belinda (1948), once again shone with talent, credibly playing the character of… a novice actress.

6. Strangers on a Train (1951)

This movie has weaknesses in my opinion, such as the finale, which employs an idiotic twist for better effect, but there are also many pluses. The theme taken from Patricia Highsmith’s novel and turned into a screenplay by Raymond Chandler makes this work a memorable and oft-quoted production. However, the director also proves his creativity by executing some scenes masterfully, bringing out their potential, creating from simplicity something remarkable that will become a source of inspiration. The discovery of the year became cinematographer Robert Burks – his style of work so appealed to the director that they decided to continue working together. It was no coincidence that Burks was behind the camera of Hitchcock’s most technically perfect films – when the director had an idea for an unusual shot, this cinematographer knew exactly how to realize the idea. Together they made twelve films. But if today’s viewer remembers anything from Strangers on a Train, it’s unlikely to be the interesting shots, but the wonderful performance of Robert Walker, who in the role of Bruno is an extremely intriguing character. Unfortunately, this was one of the last roles of this actor, he died in 1951.

7. I Confess (1953)

By making the main character a priest who becomes entangled in an affair with a woman, Hitchcock hook about on social taboos and provoked protests from the Puritan community in the United States. And in some countries the film was banned. This only strengthened interest in the film, with the director explaining that he was primarily interested in the inner conflict of the character played by Montgomery Clift. He is torn between social and priestly duty. Social duty orders him to hand over a murderer who has confessed to the crime. Priestly service, however, tells him not to do so, because the secret of confession is a sacred thing. This attitude leads to suspicion, anxiety and reflection. Using an idea from the French play Our Two Consciences (Nos deux consciences, 1902) by Paul Anthelm, the British filmmaker sought to answer the question of whether there is one right choice, one conscience. The strength of the film lies not in the formal side, but in the story, which provokes thought, but doesn’t provide a clear answer. Reality is too complicated, nothing is simple and clear.

8. Dial M for Murder (1954)

Although in the 1940s Hitchcock became convinced that the rule of three unities didn’t attract audiences to theaters, even despite a great cast, he was not about to give up. In 1954, he completed two films that were different from the TV shows of the time only by their color. Well, maybe not exactly, because Dial M for Murder was supposed to attract with the use of three-dimensional technology, but today it’s not the biggest attraction. The director carefully focused on intrigue, once again exploring the phenomenon known as a perfect murder (which is how Andrew Davis’ successful remake was titled, by the way). The story was adapted from a play by Frederick Knott (the same one who later wrote the excellent Wait Until Dark).

Hitchcock succeeded in hiring the author of the original as a screenwriter and made sure to preserve the play’s characteristic intimacy. A suspenseful chess game is played in a limited space, where cunning, intelligence, the ability to pick up details, and the ability to draw conclusions are important. This is a perfect example of a film in which the tension comes not from the fact that it’s difficult to predict the solution, but from the fact that the viewer knows much more than the characters. He knows where the exit from the maze is, which some want to discover, while others try to prevent it. Not coincidentally, an important prop that changes the whole situation is the key – a simple symbol signifying the solution to the mystery. Dial M for Murder features superb acting, and one can only regret that Ray Milland didn’t appear again with this director. It’s also worth noting the actor playing the role of Inspector Hubbard. Englishman John Williams also played this character on Broadway and in the 1958 TV version. He worked with Hitchcock on three theatrical films and was a frequent guest on Alfred Hitchcock Presents – including the role of his wife’s murderer in the episode Back for Christmas (1956).

9. Rear Window (1954)

On the surface, it seems that when he made Rear Window, the director had a similar idea as with the film Dial M for Murder. An intention based on the fact that, inspired by a short literary work, he wanted to create something intimate but suspenseful. However, these films differ, presenting a different perspective on an act that begins with the letter M. In the production titled Dial M for Murder, the viewer absorbs the intrigue with his or her eyes, as if watching a performance in a theater, somewhat from a distance, observing the characters meandering through a maze of conspiracies, lies and devious traps. Rear Window absorbs the viewer more, because here we have the point of view of a particular character. We take on the role of the protagonist played by James Stewart and observe surroundings from one place, chained to an armchair, but not 100% sure if our suspicions about the neighbor across the street are correct.

The film is a screen adaptation of Cornell Woolrich’s short story It Had to Be Murder (1942). This co-creator of the noir trend (thanks to his excellent novel Phantom Lady) also became a co-creator of one of Hitchcock’s most famous films. Screenwriter John Michael Hayes introduced (perhaps at the director’s behest) female characters that were not present in the original. This allowed not only Grace Kelly, but also Thelma Ritter to excel. But it was James Stewart who had the most difficult task, because, according to the director’s conception, he was to appear in every scene. For one hundred and ten minutes he had to keep the viewer in front of the screen. His charisma, experience, spontaneity were invaluable. However, the director wouldn’t have been himself if he had put all the responsibility on the shoulders of one person, so he made sure that the show was attractive, using a lot of interesting camera shots, as well as preparing an impressive finale. For this he hired John Fulton, who used a simple blue screen trick.

I got a theory a person ought to do everything it’s possible to do before he dies, and maybe die trying to do something that’s really impossible.

> Patricia Highsmith, Strangers on a Train

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10. The Wrong Man (1956)

Between 1954 and 1959, Alfred Hitchcock made eight films, seven of them in color. This only black-and-white film from that period is The Wrong Man. The subjects that the director was most interested in found their place here, but they were transformed into a reportage with a heavy load of realism. Therefore, in terms of drama, this film isn’t impressive, and Henry Fonda has become an ordinary victim of fate without the former star charisma. Maxwell Anderson’s screenplay is based on the true story of Manny Balestrero, and to enhance authenticity Hitchcock shot in the actual locations of the event, in New York neighborhoods.

This is one of the least entertaining films of the thriller master – a sad tale of human mistakes leading to despair, destroying reputation and family. Vera Miles plays the role of the main character’s wife, but she isn’t just a supporting character here, but the most tragic one. For the situation has an even greater impact on her than on her husband – she suffers a nervous breakdown and falls into mental illness. Vera Miles is one of Hitchcock’s favorite actresses, having starred in four of his films: two theatrical and two television – in Revenge (1955), the pilot episode of Alfred Hitchcock Presents, she played a somewhat similar character who gets shocked by a harrowing experience. The Wrong Man is one of those underrated works by the Master that is worth watching because of its combination of a unique (in this case, paradocumentary) form with a timeless message also present in Reginald Rose’s 12 Angry Men (1954): “If you’re not sure, don’t accuse!”.

11. Vertigo (1958)

Alfred Hitchcock was interested in the Boileau/Narcejac duo’s signature novel, but Henri-Georges Clouzot bought the rights to film their work and made the sensational Diabolique (1955). The writers decided to come up with a different plot for the famous director, thus helping to create one of Hitchcock’s most remarkable works. Vertigo is characterized by a dreamlike atmosphere. This oneirism is enhanced by: Bernard Herrmann’s Wagnerian score, Saul Bass’ graphic projects, Robert Burks’ cinematographic mastery and the use of innovative optical tricks. To get the dizzy effect, technicians (including Irmin Roberts and John Fulton) came up with a combination of forward camera travel and backward zoom. The result was a trick so effective that it was later used repeatedly in films (it was called the vertigo effect, by the way).

The film wasn’t well received by either critics or viewers, and was only appreciated years later. Appreciated is an understatement – today the film already has the status of a masterpiece and an iron classic of cinema. This is influenced not only by technical innovations, but also by the original intrigue created by integrating the theme of the double with a romance and crime plot. James Stewart added another great role to the package, in the process convincing himself – as in Rope (1948) – that his name doesn’t guarantee financial success. The leading female role was to be played by Vera Miles, who had to decline due to pregnancy – thanks to this Kim Novak played the role of a lifetime. Chic costumes for her were prepared by the reliable Edith Head. Excellent cinema, which isn’t only a visual masterpiece, but also a fatalistic story about love, which is insatiable and imperfect just like crime. But also about overcoming one’s fears and fighting against oneself.

12. North by Northwest (1959)

At first glance, it’s hard to talk about originality, as once again the filmmaker of The 39 Steps realized the motif of an everyman caught up in a spy intrigue and wrongly accused of murder. But this film is made with such verve and mastery that it can be seen as the prototype of modern action films. Ernest Lehman’s script brilliantly built up the tension, cleverly complicating the intrigue, heightening the problems, dynamizing the action. He didn’t abandon comedic and romantic themes, preparing the base for an entertaining action cinema with James Bond. There is no symbolism or psychology, there is wit, adventure and excitement. The work of cinematographer Robert Burks, the designs of the production designers and decorators, as well as the ideas of Arnold Gillespie, known for improving trick techniques, made this film a visually appealing, even perfect work. Film editor George Tomasini made sure that the intricate plot became clear to the viewer. And Bernard Herrmann’s music was accurately summed up by one critic: “It’s a kaleidoscopic orchestral fandango”.

North by Northwest is the only film Alfred Hitchcock made for Metro-Goldwyn-Mayer, and one of the director’s biggest box office hits. Many factors contributed to the success of the film. Compared to his previous pictures, it’s a dynamic and sophisticated work. The action rushes forward at an impressive pace, traversing many scenic areas along the way, from New York to Chicago to South Dakota, where Mount Rushmore is located. The plot is also appealing – it puts a dull advertising employee in a situation that brings him out of the crowd and tests his character and personality. The relationship between this character, played by Cary Grant, and his partner, played by Eva Marie Saint, isn’t stable, as it depends on a constantly changing situation. The director has reached the heights of his abilities, conducting the intrigue with lightness, finesse and humor. He created something like an adventure myth of an alternative America. Evil happens here too – violence and deceit are natural. However, wickedness must be punished, and courage, cunning and perseverance – rewarded.

Norman laughed, turned away, and then fell into a darkness deeper and more plunging than the swamp.

> Robert Bloch, Psycho

13. Psycho (1960)

This film is more than an example of the director’s genius. After all, Psycho is proof that Hitchcock was ahead of his time. In his previous two films, the director also admittedly showed an out-of-the-box approach, but this 1960 masterpiece was a 180-degree turn. Wanting to top the success of Diabolique (1955), the master of suspense reached for old tools, which he improved, creating a seemingly archaic, but in fact pioneering thriller. Inspired by the character of Ed Gein and the novel by Robert Bloch, Norman Bates was created. Today already ranked among the top film psychopaths, he also has much in common with Cody Jarrett from White Heat (1949) – both are paranoids with a mother complex. The inexperienced Joseph Stefano was hired to write the script. The cinematographer was John L. Russell, with whom Master worked on the series Alfred Hitchcock Presents. Graphic designer Saul Bass, on the other hand, not only designed the opening credits, but also helped layout the shot-by-shot of the plot’s crucial shower murder scene. Composer Bernard Herrmann, meanwhile, extracted such a high key from the violin that some musicians had trouble recognizing the source of the sound. All contributed to a stunned audience during the screening.

The film has a very strong emotional impact and is incredibly evocative, but at times also very subtle. The director deals with the theme of guilt and punishment, creating a suspenseful psychological thriller, in which the plot moves slowly, twisting more and more into darker areas. It’s hard to forget Anthony Perkins in the role of Norman Bates – his madness hides behind a mask of normality, but his facial expressions, gestures and glances reveal disturbing nuances of character. Janet Leigh is also excellent, but unfortunately her role is underrated today. Back in the day it’s her who received more recognition. This is evidenced by a Golden Globe and an Oscar nomination, which, in the absence of an honorable mention for Perkins, looks rather bizarrely from today’s perspective. However, there is no point in deciding who was better, because this film is a perfect example of masterful coordination. Everyone involved in the production had a major impact on it. The craftsmanship of the director consisted mainly in the fact that he was able to harmonize all the elements into a single whole, without neglecting any aspect.

14. The Birds (1963)

For the third time, Daphne du Maurier provided Hitchcock with material for a film. Using her intriguing short story, the director wanted to make an apocalyptic horror film about a threat coming from an unexpected direction. As in the case of Psycho, he intended to make a strong impression on the audience, almost a shock, but using completely different tricks. It’s no longer man who poses the threat, but nature in the form of inconspicuous-looking birds. This idea involved the use of innovative effects, not only visual, but also sound. The music is a cacophony of bird sounds, created by Remi Gassmann and Oskar Sala, experts on an electro-acoustic instrument called a trautonium. Bernard Herrmann helped create the unique sound layer.

From the visual side, meanwhile, opted to combine shots featuring real birds (trained by Ray Berwick) with numerous special effects. Two artist-painters from Walt Disney’s stable – Ub Iwerks and Albert Whitlock (whom Hitchcock still knew from his British period) – prepared the designs, from which more than three hundred trick shots were created. The screenplay was written by Evan Hunter, author of numerous crime novels under the pseudonym Ed McBain (many of his works were published under the giallo banner). Hitchcock’s The Birds is a film of colossal importance for the history of cinema – especially in the 1970s this could be felt when more and more films about aggressive animals were made.

15. Frenzy (1972)

Many people consider Alfred Hitchcock’s last outstanding achievement to be Marnie (1964), a psychological thriller with Tippi Hedren and Sean Connery. Indeed, the film is impressive, but in my opinion, much better is the penultimate work of the Master titled Frenzy. The British filmmaker shot this work in his native London, using an idea he had already reworked in the silent film era – he made then The Lodger: A Story of the London Fog (1927), inspired by the Jack the Ripper murders. Based on a novel by Arthur La Bern and a screenplay by Anthony Shaffer (twin brother of the author of Amadeus), Hitchcock was once again able to show his professionalism. The 1970s was already a time of harsher, more controversial cinema. The director was aware of this, which is why his film about a murderer of women isn’t as subtle as items from the classics of cinema.

Admittedly, there is a certain exquisiteness that reminds us of classic English detective stories, but the gallery of characters is closer to brutal reality than to cinematic tradition. The protagonist doesn’t inspire as much sympathy as the characters of James Stewart or Cary Grant, which isn’t the fault of the actor, but the type of the character. For it’s a sociopathic personality. In turn, the women are far from Grace Kelly or Tippi Hedren – they lack that magnetism. The main antagonist is a completely amoral character, and the macabre humor that is an important component of the show introduced a certain discomfort. The film was positively reviewed by critics. Quite rightly, as it’s a beautiful farewell of the director to the genre to which he devoted almost half a century of his life.

BONUS

Alfred Hitchcock Presents (1955-1962)

In the introduction to the pilot episode, the Master himself describes the project as a “series of stories of suspense and mystery”. These are moralizing stories typical for television of the time. This doesn’t mean that in every episode the criminal was unmasked. If the ending was ambiguous, then Hitchcock as the show’s host had to add a comment in the epilogue suggesting that the criminal met his deserved punishment. In the first episode (Revenge), the theme is the futility of revenge, which is similar to the real crime and deserves similar punishment. However, I would like to single out two other episodes directed by Hitchcock.

The Case of Mr. Pelham (1955), starring Tom Ewell, protagonist of The Seven Year Itch (1955), is an adaptation of a short story by Anthony Armstrong. The bizarre story of Mr. Pelham, an unassuming-looking man whose life is turned upside down when he learns of the existence of a mysterious double. The episode (based on a script by Francis Cockrell) is quite unusual for this director, as one senses the interference of supernatural forces, as in the hidden invasion films regularly shot in the 1950s. Essentially, it’s a touching tale about the fear of losing one’s identity and control over one’s life. However, the story has an amusing conclusion – in the epilogue, the show’s host, taken away by two types, shouts: “I’m Alfred Hitchcock and I can prove it”.

The second episode I’d like to highlight is titled The Perfect Crime (1957) and is an extremely rare specimen, as it’s Vincent Price’s only appearance at Alfred Hitchcock’s. In this 25-minute episode, the accomplished actor plays a cocky detective who is convinced of his infallibility. But a man tries to prove to him that he recently sent an innocent man to his death. The script (based on a story by Ben Redman) was written by Stirling Silliphant, who also wrote one of the most unusual episodes in the series (The Glass Eye, directed by Robert Stevens). The episode, The Perfect Crime, is a story about how murder cannot be something perfect, because the very idea of taking someone’s life is the product of an imperfect mind, unable to control its emotions. It’s also a story about how overconfidence weakens one’s sense of observation, causing one to miss important details that can completely change one’s perception.