285 she did have . . . bed: Ackland, The Celluloid Mistress, 37.
285 his granddaughters’ confirmation . . . 1966: AH appointment books, AHC MHL.
285 When Pat and . . . Presents: Hitchcock O’Connell and Bouzereau, Alma Hitchcock, 213.
286 “given greater glory . . . work”: Bernard Parkin S.J., St Ignatius College, 1894–1994 (Enfield, UK: St Ignatius Press, 1994), viii.
286 “his admiration for . . . unbounded”: Ibid., 146.
286 “I go through . . . failure”: AH to Reverend Thomas J. Sullivan, S.J., October 20, 1966, AHC MHL. See also McGilligan, Darkness and Light, loc. 15188 of 20272, Kindle.
286 a rare example . . . Church: see Berry C. Knowlton and Eloise R. Knowlton, “Murder Mystery Meets Sacred Mystery: The Catholic Sacramental in Hitchcock’s I Confess,” in Regina Hansen, ed., Roman Catholicism in Fantastic Film: Essays on Belief, Spectacle, Ritual and Imagery (Jefferson, NC: McFarland, 2011), 196.
287 Dissatisfaction with casting . . . years: Truffaut, Hitchcock, 200–202.
287 He was also . . . plausibility: Ibid., 203.
287 “the Holy Church . . . men”: Murray Pomerance, An Eye for Hitchcock (New Brunswick, NJ, and London: Rutgers University Press, 2004), 173.
288 “What’s a Jansenist?”: Bazin, Cinema of Cruelty, 152.
288 As a matter . . . activities: Weaver, “The Man Behind the Body,” 88.
288 For similar reasons . . . cubicle: Spoto, Dark Side of Genius, 385.
289 “[A] claim to . . . belief”: O’Riordan, “Interview with Alfred Hitchcock,” 290.
289 “concocting a moral . . . universe”: David Freeman, in discussion with the author, October 6, 2018.
290 “today to a . . . evil”: Alfred Hitchcock, interview by Richard Schickel, The Men Who Made the Movies: Alfred Hitchcock, PBS, 1973.
290 “Transference of guilt”: Eric Rohmer and Claude Chabrol were the first to discuss this. See Eric Rohmer and Claude Chabrol, Hitchcock: The First Forty-Four Films, trans. Stanley Hochman (Oxford: Roundhouse, 1992).
291 “the principle that . . . happiness”: Hurley, Soul in Suspense, 72.
291 “The soul of . . . initiative”: Ibid., 199.
291 Hitchcock conceded that . . . filmography: Truffaut, Hitchcock, 54.
292 “beautiful, holy things”: Oscar Wilde, “De Profundis,” De Profundis: The Ballad of Reading Gaol and Other Writings (London: Wordsworth Editions, 1999), 83.
292 “what one can . . . at”: Ibid., 59.
292 “an order for . . . wine”: Ibid.
293 In Donald Spoto’s . . . absolution: Spoto, Dark Side of Genius, 551.
293 “insisted on coming . . . Alma”: McGilligan, Darkness and Light, loc. 16939 of 20272, Kindle.
294 “But something whispered . . . need”: Mark Henninger, “Alfred Hitchcock’s Surprise Ending,” Wall Street Journal, June 12, 2012, https://www.wsj.com/articles/SB10001424127887323401904578159573738040636.
294 On Henninger’s first . . . “cheeks”: Ibid.
295 Alma struggled to . . . them: Hitchcock O’Connell and Bouzereau, Alma Hitchcock, 222.
295 “I have lots . . . forever!”: Taylor, “Surviving,” 176.
Selected Bibliography
A NOTE ON PRIMARY SOURCES
In researching the life and work of Alfred Hitchcock, the Alfred Hitchcock Collection at the Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Los Angeles, is an indispensable resource. Numerous other collections at the Library—including those of the various Hollywood studios for which Hitchcock worked, his writers, technicians, actors, and friends—are similarly important. The Academy’s oral history collections contain transcripts of lengthy interviews with key names from Hitchcock’s Hollywood years. Also in Los Angeles, the Special Collections at the Charles E. Young Research Library, UCLA, provided many very useful materials in the research of this book.
The Howard Gotlieb Archival Research Center at Boston University has collections of papers belonging to several of Hitchcock’s associates and collaborators. Texas has some excellent resources, including the Ernest Lehman and David O. Selznick collections at the Harry Ransom Center at the University of Texas, Austin, and the Ronald Davis Oral History Collection at the Southern Methodist University in Dallas. In New York, the Museum of Modern Art, and the Rare Books and Manuscripts Division and the Billy Rose Theatre Division at the New York Public Library have limited but useful resources about various writers who wrote with and about Hitchcock. The Beinecke Rare Books and Manuscript Library at Yale University has jewels scattered through its capacious archives, including a recording of Gilbert Harrison’s interview with Hitchcock in 1980, one of the last he ever did.
In London, the British Film Institute (BFI) holds the best primary materials for studying Hitchcock’s career and milieu before his departure for Hollywood. Beyond its invaluable store of film periodicals, the BFI’s Reuben Library also has vast collections of photographs and film footage that help to shine light on Hitchcock’s work. North of the Thames, the British Library’s comprehensive collections of periodicals helped me locate original copies of dozens of articles by and about Hitchcock from the 1920s onward, and its audiovisual archives have a trove of Hitchcock interviews and documentaries. The Library’s magnificent online newspaper database also allowed me to stumble across many Hitchcock-related articles that I would not have otherwise encountered. I am indebted to the outstanding work of the scholars Sidney Gottlieb and Jane Sloan for bringing so much material by and about Hitchcock to my attention. Sloan’s bibliography and Gottlieb’s anthologies of Hitchcock’s writing and interviews are indispensable to any Hitchcock researcher.
PERIODICAL ARTICLES AND WEBSITES
“Alfred Hitchcock Reveals His Methods.” Midland Daily Telegraph, July 14, 1936.
“All the Fun of the Fair—Free.” Evening Standard, June 15, 1927.
“Alma in Wonderland: A Woman’s Place Is Not Always in the Home.” Picturegoer, December 1925.
“The British Film.” Western Morning News, October 19, 1926.
“British Films Booming.” Daily Herald, September 15, 1926.
“Case of the Missing Shoe.” Sydney Morning Herald, May 5, 1960.
“The Elderly Cherub That Is Hitchcock.” TV Guide, May 29, 1965.
“Everything Went Black.” The Herald, May 14, 1960.
“Exposing Weaknesses of Top Ranking Stars.” Modern Screen, December 1940.
“Falstaff in Manhattan.” New York Times, September 5, 1937.
“The Farmer’s Wife.” Daily Mirror, March 5, 1928.
“Film Crasher Hitchcock.” Cue, May 19, 1951.
“Film Director’s Daughter Scores in New Comedy.” Hartford Times, October 13, 1944.
“Film-Making Problems.” Daily Mail, March 31, 1927.
“From Our London Correspondent.” Western
