The Twelve Lives of Alfred Hitchcock by Edward White (an ebook reader txt) 📗

films”: Bosley Crowther to AH, December 1, 1960, AHC MHL.

36 “within living memory . . . crime”: George Orwell, “The English People,” I Have Tried to Tell the Truth: 1943–1944 (London: Secker & Warburg, 1998), 201.

36 “great period in . . . 1925”: George Orwell, “Decline of the English Murder,” in Decline of the English Murder (London: Penguin, 2009), 15.

37 “I am out . . . ‘shake-up’ ”: “Alfred Hitchcock Reveals His Methods,” Midland Daily Telegraph, July 14, 1936, 6.

37 “grow sluggish and . . . firsthand”: Hitchcock, “Why ‘Thrillers’ Thrive,” 15.

37 “To him, the . . . ovation”: Joseph Cotten, Vanity Will Get You Somewhere (London: Columbus Books, 1987), 64.

38 He said that . . . his dreams: Chandler, It’s Only a Movie, 19.

38 “those aspects of . . . at all”: Harold Hayes to AH, December 28, 1960, AHC MHL.

38 “for amusement, choose . . . Man”: Alfred Hitchcock, “The Sophistication of Violence,” Esquire, July 1961, 108.

39 David Thomson writes . . . footage: David Thomson, The Moment of Psycho: How Alfred Hitchcock Taught America to Love Murder (New York: Basic Books, 2009).

40 “first good film”: Leider, “Interview: Alfred Hitchcock,” in Gottlieb, ed., Hitchcock on Hitchcock, Volume 2, 259.

40 “the first time . . . picture”: Truffaut, Hitchcock, 44.

40 To Truffaut he . . . Paris: Ibid., 47.

41 “All murderers regard . . . mean”: “Alfred Hitchcock Murders a Blonde,” in Gottlieb, ed., Hitchcock on Hitchcock, Volume 2, 87. Originally published in Weekend Magazine, Ottawa Citizen 8, no. 22 (May 31, 1958): 6, 7, 33, 44.

41 “another Hyde”: Simon Joyce, “Sexual Politics and the Aesthetics of Crime: Oscar Wilde in the ’90s,” ELH 69, no. 2 (Summer 2002): 501–23.

41 Such reporting promoted . . . Hyde: Ibid.

42 In 2002 and . . . Group: Before Cornwell’s second book was published, Patrick McGilligan noted the connection. See McGilligan, Darkness and Light, loc. 12019 of 20272, Kindle. Cornwell’s books are Portrait of a Killer: Jack the Ripper, Case Closed (New York: Little, Brown, 2002), and Ripper: The Secret Life of Walter Sickert (Seattle: Thomas & Mercer, 2017).

42 he bought one . . . wall: Inventory of Hitchcock’s art, AHC MHL.

45 “The program seems . . . for it”: Alfred Hitchcock, Alfred Hitchcock Presents Music to Be Murdered By, 1958.

45 “the master, Uncle Alfred”: @Eminem, Twitter, January 17, 2020, https://twitter.com/Eminem/status/1218044393736822786

46 “My parents were not political”: Patricia Hitchcock O’Connell and Laurent Bouzereau, Alma Hitchcock: The Woman Behind the Man (New York: Berkley Books, 2003), 203.

46 “violent things . . . use them”: J. Danvers Williams, “The Censor Wouldn’t Pass It,” Film Weekly, November 5, 1938, 6.

46 “I was both . . . life”: Truffaut, Hitchcock, 159.

47 according to one . . . conflict: Charles Barr and Alain Kerzoncuf, Hitchcock Lost and Found: The Forgotten Films (Lexington: University Press of Kentucky, 2015), 126.

47 Contrary to later. . . received: Ibid., 158.

47 “We realized that . . . conflicts”: Truffaut, Hitchcock, 161.

48 Originally designed to . . . the Camps: Kay Gladstone, “Separate Intentions: The Allied Screening of Concentration Camp Documentaries in Defeated Germany in 1945–46: Death Mills and Memory of the Camps,” in Holocaust and the Moving Image: Representations in Film and Television since 1933, ed. Toby Haggith and Joanna Newman (London: Wallflower, 2005), 50–64.

48 Only in 2014 . . . Survey: The film is stored in the archives of the Imperial War Museum, but members of the public can view some of the footage that was in the cut of the documentary that Hitchcock worked on in the 2014 documentary, Night Will Fall, which tells the story of the making of the German Concentration Camps Factual Survey. The PBS Frontline documentary is also available online.

48 “thought he, a . . . he had”: Sidney Bernstein speaking in Night Will Fall, 2014.

48 “was very careful . . . any way”: Elizabeth Sussex, “The Fate of F3080,” Sight & Sound 53, no. 2 (Spring 1984): 92.

48 “juxtaposition of what . . . themes”: Jean-Louis Comolli, “Fatal Rendezvous,” in Cinema and the Shoah: An Art Confronts the Tragedy of the Twentieth Century, ed. Jean-Michel Frodon, trans. Anna Harrison and Tom Mes (Albany: State University of New York Press, 2010), 62.

49 “One cannot contemplate . . . horrors”: Robin Wood, Hitchcock’s Films Revisited (New York: Columbia University Press, 1989), 150.

50 “He seemed genuinely . . . Jews”: Peter Bogdanovich, “Hitchcock High and Low,” New York, May 6, 1974, 75.

50 “here we are . . . brutality”: Alfred Hitchcock, interview by Richard Schickel, The Men Who Made the Movies: Alfred Hitchcock, PBS, November 4, 1973.

50 “sponge, eager to . . . design”: Jane Sloan, Alfred Hitchcock: A Filmography and Bibliography (Berkeley: University of California Press, 1995), 37.

51 “nauseating . . . stomach-turning . . . unnecessarily tasteless”: Hitchcock at the NFT, BBC One, December 30, 1969. Viewed at the BFI Southbank Mediatheque, London.

51 “I would say . . . business”: Ibid.

51 “people die without . . . pain”: Quoted in Robert Sklar, “Death at Work: Hitchcock’s Violence and Spectator Identification,” in After Hitchcock: Influence, Imitation, and Intertexuality, ed. David Boyd and R. Barton Palmer (Austin: University of Texas Press, 2010), 219. Original source is “Le Devoir” interview, folder no. 96, Sam Peckinpah Collection, MHL.

51 “Just another day . . . this”: Barry Foster, speaking in The Story of Frenzy, DVD extra on Frenzy, 2005.

51 “the effect is . . . there”: Ibid.

3: THE AUTEUR

53 “but Hitch didn’t . . . thing”: Ronald Neame, interviewed by Tim Kirby for Reputations, BBC, PMC WHS.

53 “I saw Hitchcock . . . head”: Ibid.

53 “I really hate the word artistic”: Gerald Pratley, “Alfred Hitchcock’s Working Credo,” Films in Review 3, no. 10 (December 1952): 502.

53 “I have too . . . critics”: Ibid., 503.

54 “prodigiously bored”: André Bazin, “Hitchcock vs. Hitchcock,” in The Cinema of Cruelty: From Buñuel to Hitchcock (New York: Seaver Books, 1982), 144. Originally appeared in Cahiers du Cinéma, no. 39, October 1954.

54 “No, the light . . . tomorrow”: Ibid., 145.

54 “one’s first reaction . .