A fresh, innovative biography of the twentieth century’s most iconic filmmaker. In The Twelve Lives of Alfred Hitchcock, Edward White explores the Hitchcock phenomenon—what defines it, how it was invented, what it reveals about the man at its core, and how its legacy continues to shape our cultural world. The book’s twelve chapters illuminate different aspects of Hitchcock’s life and work: “The Boy Who Couldn’t Grow Up”; “The Murderer”; “The Auteur”; “The Womanizer”; “The Fat Man”; “The Dandy”; “The Family Man”; “The Voyeur”; “The Entertainer”; “The Pioneer”; “The Londoner”; “The Man of God.” Each of these angles reveals something fundamental about the man he was and the mythological creature he has become, presenting not just the life Hitchcock lived but also the various versions of himself that he projected, and those projected on his behalf. From Hitchcock’s early work in England to his most celebrated films, White astutely analyzes Hitchcock’s oeuvre and provides new interpretations. He also delves into Hitchcock’s ideas about gender; his complicated relationships with “his women”—not only Grace Kelly and Tippi Hedren but also his female audiences—as well as leading men such as Cary Grant, and writes movingly of Hitchcock’s devotion to his wife and lifelong companion, Alma, who made vital contributions to numerous classic Hitchcock films, and burnished his mythology. And White is trenchant in his assessment of the Hitchcock persona, so carefully created that Hitchcock became not only a figurehead for his own industry but nothing less than a cultural icon. Ultimately, White’s portrayal illuminates a vital truth: Hitchcock was more than a Hollywood titan; he was the definitive modern artist, and his significance reaches far beyond the confines of cinema.
With insights into his relationships with Hollywood legends – such as Cary Grant, James Stewart, Ingrid Bergman, and Grace Kelly – as well as his 54-year marriage to Alma Reville and his inspirations in the thriller genre, the book is ...
There was one ominous notation on the call sheet for 24 September, with a reference to “Mr. Finch late and shooting held up from 9:45 to 10:50.” It has been said that Hitchcock made Finch apologise to each member of the cast, ...
... as well – the classical, Georgian decorative scheme seems a bit at odds in Mander- ley's overall Gothic atmosphere. ... I,II Dining room (Digital Frame) III, IV Morning room (Digital Frame) V East wing corridor (Digital Frame) VI ...
" This book examines what should be obvious: Hitchcock systematically incorporated assorted types of comedy--black humor, parody, farce/screwball comedy and romantic comedy--in his films to entertain his audience with "comic" thrillers.
This is Hitchcock in his own voice and through the eyes of those who knew him better than anyone could.
"This untold origins story of the filmmaker excavates the first true Hitchcock film and explores its transatlantic history. Hitchcock called The Lodger "the first true Hitchcock movie," anticipating all the others.
From a humorous account of Wilder's stint as a hired dancing companion in a posh Berlin hotel and his dispatches from the international film scene, to his astute profiles of writers, performers, and political figures, the collection offers ...
The first book on Hitchcock that focuses exclusively on his work with actors Alfred Hitchcock is said to have once remarked, "Actors are cattle," a line that has stuck in the public consciousness ever since.
The Tastemaker encompasses its subject's private fears and longings, as well as Manhattan's raucous, taboo-busting social scene of which he was such a central part.
Packed with richly detailed case studies, the book shows how new technologies and new ideas about cinema as a visual art have shaped a wide range of classics, from Double Indemnity and Rear Window to JFK and Saving Private Ryan."—Patrick ...