Each chapter discusses a different film, in chronological order. This book was originally published in 1976, and the author actually interviewed Hitchcock, many of his screenwriters and crew, as well as actors from his films. I already thought Hitchcock was a genius as a director, but this book helped me realize just how amazingly creative he was. Even for films that you have seen dozens of times, this book is going to bring to light something that you have not noticed yet. It goes in depth as to the psychology, symbolism, and artistic layout of each film. This is an excellent book if you are an Alfred Hitchcock fan. I came across it again earlier in the year and haven't been able to get enough of it. I started reading it four years ago, but then it got lost (boxed up) when we started remodeling our house. I found this book years ago at Barnes and Noble and immediately purchased it. Hitchcock is by far my favorite director (followed by Frank Capra), with Rear Window being my all-time favorite movie. Of course, that meant we had to watch all of the Master of Suspense's movies, too. So, for example, all the Basil Rathbone Sherlock Holmes movies, all the Charlie Chan films, all The Falcon movies, Mr. We went through all the classics (stand-alones and series), especially mystery movies.
#Alfred hirchcock movie#
My "reward" for finishing my homework each night was to watch an old movie with my dad. I have seen every Alfred Hitchcock film available to audiences.yes, I'm a nerd. The fact that it remains in print is a testament to the important contribution Spoto made in studying Hitchcock. I first saw the reprint edition in B Dalton Bookstore more than 20 years ago, but a poor college kid couldn't afford the purchase price and no library in town owned a copy. This may be the book I have waited longest to read. Hitch has moments of greatness in nearly every movie and Spoto reminds us of these nuggets of genius through his praise. It's a refreshing take even though I disagree on many of his apologies. He's more likely to say that Marnie was a latter day classic and Frenzy and Family Plot were great efforts that were in form with his earlier work, while Stage Freight and I Confess are misunderstood. He'll admit that Torn Curtain is a bomb or that Under Capricorn was a misfire, but it's the exception. Unlike the typical critic he tends to defend the lesser films rather than add to the chorus of disappointment. Much like an Ebert or even a Scorsese he goes beyond the cast and even the script to talk art direction, color tones, and binding themes within and between the films. Spoto is known more as a Hollywood biographer than a movie critic so I was surprised at the depth of his exploration of these films.
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