Child, Julia, 130
Christie, John, 35
Churchill, Winston, 263
Cinematograph Films Act of 1927 (British), 260
cinematographic style, of AH, 52, 56, 78, 186–87, 194, 236, 277
Citizen Kane (film), 201
class dynamics, AH’s views on, 77, 137, 217–18, 253, 264, 265, 269
Clift, Montgomery, 112, 154, 181, 209, 285–86
Clouzot, Henri-Georges, 29, 244
Codd, Elsie, 84
Coen brothers, 219
Cohen, Paula Marantz, xii
Cold Dark Matter: An Exploded View (Parker), 196
Coleman, Herbert, 71, 149, 171, 198, 205
Collins, Dale, 169
Comolli, Jean-Louis, 48–49
Compson, Betty, 84
Compton, Fay, 2
Condon, Richard, 179, 270n, 281
Connery, Sean, 104, 270
Connolly, Cyril, 168
Conrad, Peter, 220
Constant Nymph (film), 165
Cook, Whitfield, 118, 124–25, 172, 173–78, 183
Corbett, James, 118
Cornwell, Patricia, 42
Cotten, Joseph, 37, 160–61, 162, 270
Coward, Noel, 52
Cox, Jack, 236
Crane, Marion (char.), 15, 29–30, 39, 49, 141, 182–83, 221, 290
Cribbins, Bernard, 213
Crime and Punishment (Dostoevsky), 74
Crippen, Hawley Harvey, 35, 145
Cronyn, Hume, 71
Crossman, Richard, 47
Crowther, Bosley, 35
Cry Baby (film), 13
Cutts, Graham, 28, 56, 59, 194
Dahl, Roald, 17, 112n
Daily Express, 258, 260
Daily Herald, 117, 259–60
Daily Mail, 261
Daily Mirror, 261
Dalí, Salvador, 20
Dall, John, 153
Dandy (char.), 136–37
“Dandy in Hitchcock, The” (Elsaesser), 133n
Daniels, Melanie (char.), 21–22, 25, 97–98, 151, 211, 269
Darcy, Georgine, 217
Davies, George Llewelyn, 1
Day, Doris, 13, 14, 179, 209
Day, Laraine, 269–70
Day of the Triffids (Wyndham), 228
“Decline of the English Murder” (Orwell), 36
Deller, Jeremy, 196
DeMille, Cecil B., 186
De Quincey, Thomas, 41
Dern, Bruce, 152, 277n, 294
DeRosa, Steven, 90
De Sica, Vittorio, 195
Devane, William, 210
Diaboliques, Les (film), 29
Diaghilev, Sergei, 227
Dial M for Murder (film), 35, 90, 108, 171, 181, 204, 280, 290
Dial M for Murder (Knott), 171
Dick, Douglas, 177
Dick Cavett Show, The, 132
Dickens, Charles, 62
Dietrich, Marlene, 159, 271
Dimmock, Emily, 42
Disney, Walt, 242
documentary films, 47–49, 150, 163, 264–65, 308
“Does Frenzy Degrade Women?” (New York Times article), 107
Donat, Robert, 107–8, 221
Dor, Karen, 247
Douchet, Jean, 55
Downhill (film), 20, 52, 155, 233, 252, 260
Drifters (film), 265
Duchamp, Marcel, 182
Duel in the Sun (film), 104
du Maurier, Daphne, 81–82, 227
du Maurier, George, 94
Durgnat, Raymond, 133, 201, 265–66
Dyson, George, 183
Ealing Studios, 266
Easy Virtue (film), 52, 215, 233–34, 236
Ebert, Roger, 108, 277
Edgar, Marnie (char.), 20–23, 104–7, 109, 141, 151
Edgar Allen Poe Award, 72
Edward VII, King of England, 59, 116
Eisenstein, Sergei, 258
Eisner, Lotte, 28
Elsaesser, Thomas, 133n, 139, 150
Elsom, Mary, 228
Elstree Studios, 52, 215–16
Emerson, Ralph Waldo, 255
Eminem, 45
English character:
AH’s opinions on, 32, 34
AH’s relationship to, 251–58, 268, 293
America and Hollywood as viewed by the English, 260–64, 269
emotional reserve in, 254–55, 274
and food, 116
and interest in true crime, 29, 32–33, 36
masculinity in, 150
secretiveness in, 189–90, 254–55, 263–64
sense of humor in, 216–18, 268
sexuality in, 87, 158, 217
English Hitchcock (Barr), 251
Erickson, Doc, 198
Escoffier, Auguste, 116
Esquire, 38, 41
Evening Standard, 261
Exodus (film), 95
expressionism, influence on AH of, 28, 38, 40, 57, 243, 279–80
Fahrenheit 451 (film), 100
Fallaci, Oriana, 8, 216, 219
Family Plot (film), 65–66, 69, 91, 152, 190, 210, 211, 215, 247, 276, 277, 281, 293, 294, 305
Famous Players-Lasky, xi–xii, 27, 59, 83, 258
Fargo (film), 219
Farmer’s Wife, The (film), 52, 164, 234, 261
filmmaking, AH on, 61, 187, 191, 228, 237, 247, 248–49, 261, 268
as art vs. commerce, 53, 204–6, 219, 233, 246, 248, 259, 262–64
auteur theory of, 55
casuistry, use of, 278–79
comedy, 211
content vs. form in, 235
realism in, 38, 98, 195, 197–98, 211, 244
silent filmmaking principles in, 187, 263
source material in, 65
story structure in, 250–51
suspense vs. surprise in, 17, 78, 242
violence and fear in, 37, 51
films, of AH, see Hitchcock, Alfred, films of
Film Weekly, 61, 107
Fincher, David, 134, 210
Fonda, Henry, 163
Fontaine, Joan, 82, 87, 108, 112, 239
Forbes, Bryan, 51
Foreign Correspondent (film), 70, 123, 191–92, 267, 269–70
Forever and a Day (film), 46
Forster, E. M., 89
Fox, Kate, 217
Frankenheimer, John, 95
Freeman, David, 103, 106, 152, 180
Fremstad, Olive, 118
French Chef, The (television series), 130
French Resistance, 47
Frenzy (film), 51, 107, 123, 145n, 198, 248, 250–51, 256, 276, 293
London’s influence on, 259, 273–74
as reprisal of The Lodger, 51, 250–51
Freud, Sigmund, 18–19, 199
Frohman, Charles, 1
Gainsborough Studios, 28, 212, 271
Galenson, David, xiv
Galsworthy, John, 73
Gardiner, Juliet, 271–72
Gassmann, Remi, 242–43
Gaumont-British, 81, 235
Gavin, John, 35
Gein, Ed, 29
Gentlemen Prefer Blondes (film), 96
George IV, King of England, 137
German film industry, influence on AH of, 60–61, 243, 258–60, 279
Germany, AH’s trips to, 28–29, 60–61, 218, 243, 258–60, 262, 279
Germany, Nazi, 46–50, 308
Germany, Weimar, 12, 61, 117
Get Out (film), 211
Gibson, Charles Dana, 118
Gibson Girl, 118
Gielgud, John, 165, 207–8, 221
Gilliat, Sidney, 64
Girl, The (film), 100
Girl on the Train, The (film), 210
Goble, Mark, 248
Goldsmiths College, University of London, 7
Gone Girl (film), 210
Goodbye Piccadilly, Farewell Leicester Square (La Bern), 274
Good Housekeeping, 118
Goold, Robert, 225
Gordon, Douglas, 196
Gottlieb, Sidney, 183
Graham, Winston, 105
Granger, Farley, 153, 155, 192, 209
Granger, Stewart, 140
Grant, Cary, 29, 54, 68, 140, 172, 217, 252, 268
as AH’s fantasy version of himself, 145–46, 148, 150, 188
as AH’s idea of maleness, 114, 145–46, 150, 151–52, 154–55, 188
in North by Northwest, 19, 34, 143, 144, 150, 218, 232, 270
in Notorious, 85, 219
style of, 140, 143–46, 144
in Suspicion, 32, 112, 282
in To Catch a Thief, 90, 145
Granton Trawler (film), 265
Greeley, Andrew, 282
Green, Hilton, 241
Greene, Graham, 74, 267, 280
Greene, Lawrence, 67
Greenwood, Edwin, 136–37
Grierson, John, 264–65, 273
Grierson, Ruby, 265
Griffith, D. W., 11, 58, 256
Guardian, 32, 106
Guernsey, Otis, 190
Haas, Dolly, 195–96
Halsman, Philippe, 230, 231
Hamilton, Patrick, 154
Hamlet (Shakespeare), 80
“Happy Ending” (Cook), 174
Harrison, Gilbert, 277–78
Harrison, Joan, 62–63, 70, 86, 116, 176, 221–22
Hasse, O. E., 286
“Have You Heard?” (photo-essay), 207n
Hawks, Howard, 54
Hayes, Harold, 38
Hayes, John Michael, 65, 71–73, 76, 97, 187, 218, 219, 274
Haymarket Theatre, 1
Hayward, Leland n, 62
Head, Edith, 128, 141–42, 145
Hearts of the World (film), 58
Heath, Neville, 245
Hecht, Ben, 22, 85, 86, 118
Hedren, Tippi, 112, 255
AH’s alleged sexual assault of, 99–103, 175–76
AH’s interactions with, 97–98, 189, 212–13
in Marnie, 21, 99, 101, 104–5, 109, 291
in The Birds, 13, 98, 108, 151, 291
Hennessy, Peter, 189
Henninger, Mark, 293–95
Hepburn, Audrey, 227
Herald (Melbourne), 229
“Her First Island” (Cook), 176
Herrmann, Bernard, 2, 226, 240, 242, 243, 247
High Anxiety (film), 216
Highsmith, Patricia, 77
Hill, Emily (char.), 169–70
Hill, Fred (char.), 169–70
Hillman, June, 55–56
Hindley, Myra, 15
“History of Pea Eating, The” (Hitchcock), 212
Hitchcock (Chabrol and Rohmer), 54
Hitchcock, Alfred, iv, 12, 33, 56, 68, 75, 88, 92, 93, 101, 113, 125, 131, 138, 144, 157, 167, 173, 185, 220, 231, 238, 256, 262, 272, 282, 294
abusive behavior by, see actors, AH’s abuse of
auteur theory of, 53–55, 80
and censors, 3, 46, 53, 153, 155, 245
and children, 13, 17–18, 205
and collaboration with technicians, 57, 58, 63, 193, 226, 236, 240-43
cross-dressing by, 155, 157, 158
death of, 278, 289
dinner parties
