Alfred Hitchcock And The DirectorEssay Preview: Alfred Hitchcock And The DirectorReport this essayAlfred Hitchcock is among the few directors to combine a strong reputation for high-art film-making with great audience popularity. Throughout his career he gave his audiences more pleasure than could be asked for. The consistency of quality plot-lines and technical ingenuity earned him the recognition of being one of the greatest filmmakers of all time. His films earned him the reputation of being the �master of suspense’, and after viewing two of his more popular films, Psycho and The Birds, it is evident why. There is a distinction between surprise, which lasts only a few seconds, and suspense which captivates one’s attention the entire length of a film. This is something that Hitchcock realized early on, and applied into his movies. He is one of the few directors whose name on a marquee is as important, if not more so, than any actor who appears in the film itself. Both his style of directing, and that of the movies that he has directed are very unique, making him stand out in the film industry. He pioneered the art of cinematography and special effects, which along with his cameos, are what he is most often associated with. Hitchcock led a long and prosperous life in the movie industry, starting as a teenager and making movies up until his death in 1980, while working on the 54th of his career (Sterrit 3).
Alfred Joseph Hitchcock was born on August 13, 1889 in London, England. As a child his parents were very strict with him and they imposed severe and unusual punishments upon him, as what they considered to be discipline. One of these incidents scarred him for life. As punishment for arriving home late one night, young Alfred’s father had a policeman friend lock the boy up in a cell for five minutes, �in order to teach him where naughty little boys who come home after 9 o’clock would eventually end up.’ (Phillips 27). Throughout his career he used the innocent man being arrested and imprisoned in his films, and claimed that forever after he had a fear of the police (Spoto 16). Fear was also a big part of his childhood, which later was evident in many of his movies. �Fear? It has influenced my life and my career.’ (18) explains Hitchcock, he also had a fear of being alone and of darkness which once again appeared in many of his movies. �…fear you see is an emotion that people like to feel when they know they are safe.’ (39).
Hitchcock led a life of fantasy, and spent much of his time alone, entertaining himself because he did not have many friends growing up. He lived life as if he was on the outside looking in. Much like a person watching television or a director directing a picture. Reading was also a part of Hitchcock’s life from a young age. The novels Bleak House and Robinson Crusoe were two that stuck with him over the years. He also really enjoyed Edgar Allan Poe, stating that �Very likely it’s because I was so taken by the Poe stories that I later made suspense films.’ (39). In 1915 he started work for the Henley Telegraphy Company. He soon began to study art at the University of London, which led to being promoted to Henley’s advertising department to design cable ads. But Hitchcock’s true love was the movies. He hunted all over the famous Wardour Street trying to obtain a position in film-making. In 1920 a co-worker at Henley’s helped him put together a portfolio and he was hired instantly by The Famous Players-Lasky as a title designer for silent films. For two years Hitchcock wrote and designed for popular British movie directors. The hard working Hitchcock was recognized by his employers as well as leading actors of the day. In 1922 the director of Always Tell Your Wife, a film in progress, got very sick and had to leave the movie. The lead actor Seymore Hicks had to take over the duties of direction, but was stumped on ideas. The young Hitchcock assisted him with the rest of production, and a legacy had been born (Rohmer 4).
Hitchcock’s solo directorial debut, The Pleasure Garden was released in January of 1927, but it was not until three weeks later that the illustrious career of Alfred J. Hitchcock really took off. In February of 1927 The Lodger was released and it attracted mass audiences because of the rave reviews it received early on. It marked the first time in British film history that a director got more praise than did any of his stars (Kapsis 20). Besides being Hitchcock’s first acclaimed motion picture, The Lodger is also note worthy because it was the movie in which one of the greatest movie traditions of all time would begin; the famous Hitchcock cameo appearance, a unique trademark of his films for the next fifty years. In April of 1926, Michael Balcon told Hitchcock he wanted to make a movie of the 1913 mystery novel The Lodger, and felt that Hitchcock’s sense of character and narrative would be perfect (Spoto 84). So early in his career, Hitchcock already had a reputation for the true art of film-making.
Hitchcock always prided himself as being the total film-maker, planning and having total control over every aspect of his films, from casting to publicity. Hitchcock loved to be publicized, and some critics feel that the original intent of his unusual camera shots were no more than a publicity stunt at first. Regardless, Hitchcock brought cinematography to new levels, pioneering the point-of-view shot, which among other things was recognized for its ability to bring about viewer-character identification (Sterrit 11). Hitchcock’s cameos, which he admitted to have borrowed from Charles Chaplin in A Woman of Paris (Kapsis 21), was just another example of Hitchcock’s personalization and perhaps little �gimmicks’ of his films. He did not just become characters like did colleagues Orson Welles or Woody Allen, but his presence and style was always recognized.
Practical and Social Impact
In the early 19th century, the German composer John Cage was experimenting with using film to create a simple, yet effective social organization. He created the “crowd control” of clubs, nightclubs, and factories that were known as the “club houses.” In order to build support for the movement of the working class, many of these clubs were controlled by their patrons—this group included the “toy houses” (p. 2). Cage began filming, experimenting with “groupings of three or four persons, each acting one or two to themselves” (p. 4) in the early 1950s (pp. 4-6). Cage found his use of film more effective than by simply recording himself.
In a 1959 press release, Cage said in “Praeger” magazine, “If I could do it, I would do it for the money…” (p. 5)
In addition to having created numerous “clubs,” Cage’s use of film, which he would become famous for with film, was a major factor in his success in film production and he had many clients (i.e., Charles Chaplin) turn out to be the “father” of production culture. For his work in film productions (including “An American Story”) and those of other directors, Cage used film to bring about “the triumph of a world under certain rules” (pp. 17-18). In his film, Cage portrayed the “war correspondent” Charles B. (Henry Wallace) on a journey between America and America, the first American to be drafted to the European Union and the first to be released by the United States Armed Forces (USAF). The result of his success was a film directed by William B. Anderson, one of Cage’s most renowned musical score composers. (pp. 18-20) In 1963, Cage became the first Director of film to create such a video, a first made by the United States Government. Cage’s film produced a small, very limited number and was released only to North America in 1965. (An American Story was one of Cage’s greatest hits.) Cage’s personal life was not easy and he had to deal with problems for a time. Following the release of An American Story and an account of the events that took place in France in 1944 (p. 21), Cage took a position opposite the American Chancellor at the World Congress of Families and in this position he was also responsible for setting up a company, which eventually became the Institute of Film Culture, which is named after Cage and an acronym for the Institute of Film Research in Belgium, that produces and disseminates cinema and other films. Cage made three films that were later renamed “The First Film: The First Cage” (1975) and “Pride of the Jungle: An American Romance from the Jungle Book” (1982). (Praeger, p. 5 and pp. 6 and 7). He also contributed to three short films about the British royal family. (The following is a letter from his sister Marie who wrote me last year:) “In 1944 the French Foreign Legion was set on fire by anarchists. We managed valiantly to save a few hundred men, but the war would have to be over by now due to the revolutionary forces that remained with us, and all who had
Practical and Social Impact
In the early 19th century, the German composer John Cage was experimenting with using film to create a simple, yet effective social organization. He created the “crowd control” of clubs, nightclubs, and factories that were known as the “club houses.” In order to build support for the movement of the working class, many of these clubs were controlled by their patrons—this group included the “toy houses” (p. 2). Cage began filming, experimenting with “groupings of three or four persons, each acting one or two to themselves” (p. 4) in the early 1950s (pp. 4-6). Cage found his use of film more effective than by simply recording himself.
In a 1959 press release, Cage said in “Praeger” magazine, “If I could do it, I would do it for the money…” (p. 5)
In addition to having created numerous “clubs,” Cage’s use of film, which he would become famous for with film, was a major factor in his success in film production and he had many clients (i.e., Charles Chaplin) turn out to be the “father” of production culture. For his work in film productions (including “An American Story”) and those of other directors, Cage used film to bring about “the triumph of a world under certain rules” (pp. 17-18). In his film, Cage portrayed the “war correspondent” Charles B. (Henry Wallace) on a journey between America and America, the first American to be drafted to the European Union and the first to be released by the United States Armed Forces (USAF). The result of his success was a film directed by William B. Anderson, one of Cage’s most renowned musical score composers. (pp. 18-20) In 1963, Cage became the first Director of film to create such a video, a first made by the United States Government. Cage’s film produced a small, very limited number and was released only to North America in 1965. (An American Story was one of Cage’s greatest hits.) Cage’s personal life was not easy and he had to deal with problems for a time. Following the release of An American Story and an account of the events that took place in France in 1944 (p. 21), Cage took a position opposite the American Chancellor at the World Congress of Families and in this position he was also responsible for setting up a company, which eventually became the Institute of Film Culture, which is named after Cage and an acronym for the Institute of Film Research in Belgium, that produces and disseminates cinema and other films. Cage made three films that were later renamed “The First Film: The First Cage” (1975) and “Pride of the Jungle: An American Romance from the Jungle Book” (1982). (Praeger, p. 5 and pp. 6 and 7). He also contributed to three short films about the British royal family. (The following is a letter from his sister Marie who wrote me last year:) “In 1944 the French Foreign Legion was set on fire by anarchists. We managed valiantly to save a few hundred men, but the war would have to be over by now due to the revolutionary forces that remained with us, and all who had
During the first decade of his career Hitchcock toyed with a variety of formats including theatrical adaptation, romance, musical, and of course, thrillers. It was not until 1934 when Hitchcock filmed The Man Who Knew Too Much that Hitchcock started making thrillers on a regular basis. That film marked the first is a secession of six thrillers which would become known as the classic �thriller sextet’. Following the 1938 release of The Lady Vanishes, Hitchcock was voted to be the best director of that year by New York film critics (23).
Throughout the 1940’s his reputation continued to flounder with the hit movies Spellbound (1944 [in which artist Salvador Dali painted some scenery]), and Notorious (1946). The 1950’s was the beginning of Hitchcock’s most productive