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Hitchcock Alfred

Sir Alfred Joseph Hitchcock KBE (13 August 1899 – 29 April 1980) was an English filmmaker widely regarded as one of the most influential figures in the history of cinema. In a career spanning six decades, he directed over 50 feature films,[a] many of which are still widely watched and studied today. Known as the "Master of Suspense", he became as well known as any of his actors thanks to his many interviews, his cameo roles in most of his films, and his hosting and producing the television anthology Alfred Hitchcock Presents (1955–65). His films garnered 46 Academy Award nominations, including six wins, although he never won the award for Best Director despite five nominations.

Hitchcock initially trained as a technical clerk and copy writer before entering the film industry in 1919 as a title card designer. His directorial debut was the British-German silent film The Pleasure Garden (1925). His first successful film, The Lodger: A Story of the London Fog (1927), helped to shape the thriller genre, and Blackmail (1929) was the first British "talkie".[4] His thrillers The 39 Steps (1935) and The Lady Vanishes (1938) are ranked among the greatest British films of the 20th century. By 1939, he had international recognition and producer David O. Selznick persuaded him to move to Hollywood. A string of successful films followed, including Rebecca (1940), Foreign Correspondent (1940), Suspicion (1941), Shadow of a Doubt (1943), and Notorious (1946). Rebecca won the Academy Award for Best Picture, with Hitchcock nominated as Best Director;[5] he was also nominated for Lifeboat (1944) and Spellbound (1945). After a brief commercial lull, he returned to form with Strangers on a Train (1951) and Dial M for Murder (1954); he then went on to direct four films often ranked among the greatest of all time: Rear Window (1954), Vertigo (1958), North by Northwest (1959) and Psycho (1960), the first and last of these garnering him Best Director nominations.[6] The Birds (1963) and Marnie (1964) were also financially successful and are highly regarded by film historians.

The "Hitchcockian" style includes the use of editing and camera movement to mimic a person's gaze, thereby turning viewers into voyeurs, and framing shots to maximise anxiety and fear. The film critic Robin Wood wrote that the meaning of a Hitchcock film "is there in the method, in the progression from shot to shot. A Hitchcock film is an organism, with the whole implied in every detail and every detail related to the whole."[7] Hitchcock made multiple films with some of the biggest stars in Hollywood, including four with Cary Grant in the 1940s and 1950s, three with Ingrid Bergman in the last half of the 1940s, four with James Stewart over a ten-year span commencing in 1948, and three with Grace Kelly in the mid-1950s. Hitchcock became an American citizen in 1955.

In 2012, Hitchcock's psychological thriller Vertigo, starring Stewart, displaced Orson Welles' Citizen Kane (1941) as the British Film Institute's greatest film ever made based on its world-wide poll of hundreds of film critics.[8] As of 2021, nine of his films had been selected for preservation in the United States National Film Registry,[b] including his personal favourite, Shadow of a Doubt (1943).[c] He received the BAFTA Fellowship in 1971, the AFI Life Achievement Award in 1979 and was knighted in December that year, four months before his death on 29 April 1980.

Hitchcock was born on 13 August 1899 in the flat above his parents' leased grocer's shop at 517 High Road, Leytonstone, on the outskirts of East London (then part of Essex), the youngest of three children: William Daniel (1890–1943), Ellen Kathleen ("Nellie") (1892–1979), and Alfred Joseph (1899–1980). His parents, Emma Jane Hitchcock (née Whelan; 1863–1942), and William Edgar Hitchcock (1862–1914), were both Roman Catholics, with partial roots in Ireland His father was a greengrocer, as his grandfather had been.

There was a large extended family, including uncle John Hitchcock with his five-bedroom Victorian house on Campion Road, Putney, complete with maid, cook, chauffeur and gardener. Every summer, his uncle rented a seaside house for the family in Cliftonville, Kent. Hitchcock said that he first became class-conscious there, noticing the differences between tourists and locals.

Describing himself as a well-behaved boy—his father called him his "little lamb without a spot"—Hitchcock said he could not remember ever having had a playmate.[16] One of his favourite stories for interviewers was about his father sending him to the local police station with a note when he was five; the policeman looked at the note and locked him in a cell for a few minutes, saying, "This is what we do to naughty boys." The experience left him, he said, with a lifelong fear of policemen; in 1973 he told Tom Snyder that he was "scared stiff of anything ... to do with the law" and wouldn't even drive a car in case he got a parking ticket.

When he was six, the family moved to Limehouse and leased two stores at 130 and 175 Salmon Lane, which they ran as a fish-and-chips shop and fishmongers' respectively; they lived above the former.[18] Hitchcock attended his first school, the Howrah House Convent in Poplar, which he entered in 1907, at age 7.[19] According to biographer Patrick McGilligan, he stayed at Howrah House for at most two years. He also attended a convent school, the Wode Street School "for the daughters of gentlemen and little boys", run by the Faithful Companions of Jesus. He then attended a primary school near his home and was for a short time a boarder at Salesian College in Battersea.

Petrol station at the site of 517 High Road, Leytonstone, where Hitchcock was born; commemorative mural at nos. 527–533 (right)

The family moved again when he was 11, this time to Stepney, and on 5 October 1910 Hitchcock was sent to St Ignatius College in Stamford Hill, Tottenham (now in the London Borough of Haringey), a Jesuit grammar school with a reputation for discipline. The priests used a hard rubber cane on the boys, always at the end of the day, so the boys had to sit through classes anticipating the punishment if they had been written up for it. He later said that this is where he developed his sense of fear. The school register lists his year of birth as 1900 rather than 1899; biographer Donald Spoto says he was deliberately enrolled as a 10-year-old because he was a year behind with his schooling.

While biographer Gene Adair reports that Hitchcock was "an average, or slightly above-average, pupil",Hitchcock said that he was "usually among the four or five at the top of the class";at the end of his first year, his work in Latin, English, French and religious education was noted. He told Peter Bogdanovich: "The Jesuits taught me organisation, control and, to some degree, analysis."

His favourite subject was geography, and he became interested in maps, and railway, tram and bus timetables; according to John Russell Taylor, he could recite all the stops on the Orient Express.[28] He also had a particular interest in London trams. An overwhelming majority of his films include rail or tram scenes, in particular The Lady Vanishes, Strangers on a Train and Number Seventeen. A clapperboard shows the number of the scene and the number of takes, and Hitchcock would often take the two numbers on the clapperboard and whisper the London tram route names. For example, if the clapperboard showed Scene 23; Take 3; Hitchcock would whisper "Woodford, Hampstead" – Woodford being the terminus of the route 23 tram, and Hampstead the end of route.

Toward the end of his life, Hitchcock was working on the script for a spy thriller, The Short Night, collaborating with James Costigan, Ernest Lehman and David Freeman. Despite preliminary work, it was never filmed. Hitchcock's health was declining and he was worried about his wife, who had suffered a stroke. The screenplay was eventually published in Freeman's book The Last Days of Alfred Hitchcock (1999).

Having refused a CBE in 1962, Hitchcock was appointed a Knight Commander of the Most Excellent Order of the British Empire (KBE) in the 1980 New Year Honours. He was too ill to travel to London—he had a pacemaker and was being given cortisone injections for his arthritis—so on 3 January 1980 the British consul general presented him with the papers at Universal Studios. Asked by a reporter after the ceremony why it had taken the Queen so long, Hitchcock quipped, "I suppose it was a matter of carelessness." Cary Grant, Janet Leigh, and others attended a luncheon afterwards.

His last public appearance was on 16 March 1980, when he introduced the next year's winner of the American Film Institute award. He died of kidney failure the following month, on 29 April, in his Bel Air home.Donald Spoto, one of Hitchcock's biographers, wrote that Hitchcock had declined to see a priest, but according to Jesuit priest Mark Henninger, he and another priest, Tom Sullivan, celebrated Mass at the filmmaker's home, and Sullivan heard his confession.[] Hitchcock was survived by his wife and daughter. His funeral was held at Good Shepherd Catholic Church in Beverly Hills on 30 April, after which his body was cremated. His remains were scattered over the Pacific Ocean on 10 May 1980.

Filmmaking

Hitchcock's film production career evolved from small-scale silent films to financially significant sound films. Hitchcock remarked that he was influenced by early filmmakers George Méliès, D.W. Griffith and Alice Guy-Blaché. His silent films between 1925 and 1929 were in the crime and suspense genres, but also included melodramas and comedies. Whilst visual storytelling was pertinent during the silent era, even after the arrival of sound, Hitchcock still relied on visuals in cinema; he referred to this emphasis on visual storytelling as "pure cinema".In Britain, he honed his craft so that by the time he moved to Hollywood, the director had perfected his style and camera techniques. Hitchcock later said that his British work was the "sensation of cinema", whereas the American phase was when his "ideas were fertilised".Scholar Robin Wood writes that the director's first two films, The Pleasure Garden and The Mountain Eagle, were influenced by German Expressionism. Afterward, he discovered Soviet cinema, and Sergei Eisenstein's and Vsevolod Pudovkin's theories of montage. 1926's The Lodger was inspired by both German and Soviet aesthetics, styles which solidified the rest of his career. Although Hitchcock's work in the 1920s found some success, several British reviewers criticised Hitchcock's films for being unoriginal and conceited. Raymond Durgnat opined that Hitchcock's films were carefully and intelligently constructed, but thought they can be shallow and rarely present a "coherent worldview".

Earning the title "Master of Suspense", the director experimented with ways to generate tension in his work. He said, "My suspense work comes out of creating nightmares for the audience. And I play with an audience. I make them gasp and surprise them and shock them. When you have a nightmare, it's awfully vivid if you're dreaming that you're being led to the electric chair. Then you're as happy as can be when you wake up because you're relieved." During filming of North by Northwest, Hitchcock explained his reasons for recreating the set of Mount Rushmore: "The audience responds in proportion to how realistic you make it. One of the dramatic reasons for this type of photography is to get it looking so natural that the audience gets involved and believes, for the time being, what's going on up there on the screen." In a 1963 interview with Italian journalist Oriana Fallaci, Hitchcock was asked how in spite of appearing to be a pleasant, innocuous man, he seemed to enjoy making films involving suspense and terrifying crime. He responded:

I'm English. The English use a lot of imagination with their crimes. I don't get such a kick out of anything as much as out of imagining a crime. When I'm writing a story and I come to a crime, I think happily: now wouldn't it be nice to have him die like this? And then, even more happily, I think: at this point people will start yelling. It must be because I spent three years studying with the Jesuits. They used to terrify me to death, with everything, and now I'm getting my own back by terrifying other people.

Hitchcock's films, from the silent to the sound era, contained a number of recurring themes that he is famous for. His films explored audience as a voyeur, notably in Rear Window, Marnie and Psycho. He understood that human beings enjoy voyeuristic activities and made the audience participate in it through the character's actions. Of his fifty-three films, eleven revolved around stories of mistaken identity, where an innocent protagonist is accused of a crime and is pursued by police. In most cases, it is an ordinary, everyday person who finds themselves in a dangerous situation. Hitchcock told Truffaut: "That's because the theme of the innocent man being accused, I feel, provides the audience with a greater sense of danger. It's easier for them to identify with him than with a guilty man on the run." One of his constant themes were the struggle of a personality torn between "order and chaos";known as the notion of "double", which is a comparison or contrast between two characters or objects: the double representing a dark or evil side.

According to Robin Wood, Hitchcock had mixed feelings towards homosexuality despite working with gay actors in his career. Donald Spoto suggests that Hitchcock's sexually repressive childhood may have contributed to his exploration of deviancy. During the 1950s, the Motion Picture Production Code prohibited direct references to homosexuality but the director was known for his subtle references, and pushing the boundaries of the censors. Moreover, Shadow of a Doubt has a double incest theme through the storyline, expressed implicitly through images. Author Jane Sloan argues that Hitchcock was drawn to both conventional and unconventional sexual expression in his work, and the theme of marriage was usually presented in a "bleak and skeptical" manner. It was also not until after his mother's death in 1942, that Hitchcock portrayed motherly figures as "notorious monster-mothers".The espionage backdrop, and murders committed by characters with psychopathic tendencies were common themes too. In Hitchcock's depiction of villains and murderers, they were usually charming and friendly, forcing viewers to identify with them. The director's strict childhood and Jesuit education may have led to his distrust of authoritarian figures such as policemen and politicians; a theme which he has explored. Also, he used the "MacGuffin"—the use of an object, person or event to keep the plot moving along even if it was non-essential to the story. Some examples include the microfilm in North by Northwest and the stolen $40,000 in Psycho.

Hitchcock appears briefly in most of his own films. For example, he is seen struggling to get a double bass onto a train (Strangers on a Train), walking dogs out of a pet shop (The Birds), fixing a neighbour's clock (Rear Window), as a shadow (Family Plot), sitting at a table in a photograph (Dial M for Murder), and riding a bus (North by Northwest, To Catch a Thief)

Courtesy-wikipedia
- Hitchcock Alfred

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