Hitchcock Baker Productions Ltd., 61
Hitchcock brand (Hitchcock touch), xii, xiv, 63, 70, 76, 146, 202, 206, 238–39, 248–49
AH’s use of physical self in, xii, 111, 114, 125, 226, 228–32, 293
in collaborations with writers, 64–80
side projects and spinoffs, 62–63
“Hitchcock Gives Free Rein to the Gentle Sex” (TV Guide), 94
Hitchcock Motifs (Walker), 199
Homolka, Oscar, 17
homosexuality, in films of AH, 153–58
Hopper, Edward, 197
Hopper, Hedda, 7, 95
Hoskins, Gladys Anne, 168
House by the Railroad (Hopper), 197
Houseman, John, 253
Housing Problems (film), 265
Howrah House, 5
Huberman, Alicia (char.), 85
Hunter, Evan, 64, 71, 76, 79–80, 105–6, 146, 230
Hurley, Neil, 291
I Confess (film), 9, 163, 181, 196, 209
Iles, Frances, 62
Infinity of Mirrors (Condon), 179
influenza pandemic, 24
Innes, Hammond, 66
Inspiration (film), 182
Interpretation of Dreams, The (Freud), 18–19
Irish Civil War, 263, 287
Islington Studios, 27
“It Had to Be Murder” (Woolrich), 71
Ives, Irene, 93
Iwerks, Ub, 242
Jack the Ripper, 40, 41, 51, 248, 250
Jamaica Inn (film), 64, 136, 209
James, Clive, 213
Jane Eyre (Brontë), 81
Jansen, Cornelius, 288–89
Jaws (film), 246
Jeffries, L. B. “Jeff” (char.), 185–89, 198, 200, 201, 255, 292
Jepson, Selwyn, 173
Johnson, Lyndon, 246
Johnston, Alva, 121
Jones, Jennifer, 104
Joyce, James, 278
Jung, Carl, 19
Juno and the Paycock (film), 73, 81, 263, 287
Juno and the Paycock (O’Casey), 73, 81, 263
Kaleidoscope (film), 245–46
Kauffer, E. McKnight, 56, 63
Kelly, Grace, 29, 145
as AH’s ideal woman, 90–91, 95–97
AH’s interactions with, 90, 95, 99, 118, 127–28, 171, 181, 227
in Dial M for Murder, 35, 108, 181, 280
in Rear Window, 90–91, 93, 108–9
Kennedy, John F., assassination of, 39
Kieling, Wolfgang, 49
King and I, The, (film), 66
Kissinger, Henry, 246
Klee, Paul, 195
knighthood, of AH, 273–74, 277
Knott, Frederick, 90, 171
Konstam, Phyllis, 164
Krohn, Bill, 184–85, 192
Kuleshov, Lev, 187
Kuleshov effect, 187
La Bern, Arthur, 274
Lady Vanishes, The (film), 46, 64, 158, 200, 207, 233, 247, 271, 290
Lambert, Gavin, 196
Landau, Martin, 143, 155–56
Landis, Jessie Royce, 146
Landis, John, 152
Last Laugh, The (film), 28
Laughton, Charles, 136, 209, 273
Laurents, Arthur, 11, 153–54, 171, 174
Lean, David, 273
Leff, Leonard, 232
Legion d’honneur, awarded to AH, 273
Lehman, Ernest, 65–69, 70, 80, 106, 149, 190, 232, 305
Leigh, Janet, 29–30, 35, 42, 44, 63, 145n, 228
Leigh, Vivien, 82
Leigh-Hunt, Barbara, 51, 145n, 274
Leighton, Margaret, 213
Lejeune, C. A., 16–17, 266–67
Leopold and Loeb case, 153
Lewis, Wyndham, 168
Leytonstone, England, 3, 252, 279
Liberace, 140
Life, 163, 170, 207n
Lifeboat (film), 110–11, 122, 123–24, 218, 234
Lloyd, Norman, 16, 62–63, 241, 266
Lloyd’s of London (film), 267
Lodger, The (film), xii, 40, 41, 52, 55–58, 62n, 63, 89, 91, 258–60
critical response to, 205, 259–60
gay subtext in, 154–55
London’s influence on, 252, 254, 255, 259, 277
as precursor of Frenzy, 51, 250–51
publicity for, 230–32
themes and symbols in, 42–43, 163, 284, 292
Lodger, The (Lowndes), 40, 41
Logan, Joshua, 71, 185
Lombard, Carole, 170, 208
London (film), 260
London, AH’s relationship with, 234, 250–75
London County Council School of Marine Engineering and Navigation, 6–7
London Evening News, 261
London Film Society, 207, 258
London in the Twentieth Century (White), 271
London Life, 130
Look, 129–30
Los Angeles Times, 127
Lowndes, Marie Belloc, 40, 41
Lynley, Carol, 282
Macfadden, Bernarr, 119
MacGuffin, AH’s use of, 219, 268
MacLaine, Shirley, 119, 183, 280
MacPhail, Angus, 73
Mad Men (television series), 232
male gaze, 182–85
Malice Aforethought (film), 62
Malice Aforethought (Iles), 62
Maloney, Russell, 10
Mann, Philip, 139
Man Running (Jepson), 173
Mansfield, Richard, 41
Man Who Never Was, The (Montagu), 190
Man Who Knew Too Much, The (1934 film), 14, 34, 45–46, 70, 81, 190, 271
children in, 13–14
London’s influence on, 252, 255, 263
themes in, 45–46, 111–12, 163, 247
Man Who Knew Too Much, The (1956 film), 13, 152, 179, 191, 202, 209, 252, 280
children in, 13–14
Hayes as screenwriter for, 72–73, 274
London’s influence on, 252, 274
themes in, 14, 111–12, 163, 247
Manxman, The (film), 52, 85, 163
Marnie (film), 7, 99, 101, 227, 244, 270
critical response to, 104–7, 109, 184, 245
Hedren in, 21–22, 99–103, 101, 151
style of, 248–49
themes in, 20–22, 105–9, 141, 151, 184, 291
Marnie (Graham), 105
Mary (film), 81
Mary, SS, 88
Mary Rose (Barrie), influence on AH, 1–3, 25
Mason, James, 143
Mastering the Art of French Cooking (Child), 130
Matisse, Henri, 281
Maxwell, John, 52
MCA, 204, 246
McCall’s, 127
McCrea, Joel, 123, 269
McEwen, Todd, 143–45
McGilligan, Patrick, 60, 102, 156–58, 175, 225, 289, 293–95
McKittrick, Casey, 121
Men of the Lightship (film), 47
Men Who Made the Movies, 180
#MeToo movement, 102, 104
Metropolitan Museum of Art, 197
MGM, 192
Michelson, Harold, 242
Midsummer Night’s Dream, A (Shakespeare), 219
Mieris, Willem van, 182–83
Miles, Vera, 95, 141, 163
Miller, D .A., 199–200
Miller, Edwin, 99
Miss Marple (char.), 36
Modleski, Tania, 109
Monroe, Marilyn, 96–97
Montagu, Ewen, 189–90
Montagu, Ivor, 56–58, 81, 189–90, 205–6, 234, 258–59
moors murders, 15
Morfield, June, 94
Morgan, Phillip (char.), 134, 137, 244
gay subtext of, 153–54
Morton, Michael, 84
Motion Picture News, 164
Motion Pictures Production Code, 245
Motion Picture Studio, 61
Mountain Eagle, The (film), xii, 55, 59, 260
Mount Rushmore, 67
Mr. and Mrs. Smith (film), 170, 208
Mrs. Peabody (or Number Thirteen) (unfinished film), 27, 84
Mulvey, Laura, 184
Mumy, Bill, 6
Munson, Audrey, 182
murder:
relationship of creativity to, 39, 43–45, 51, 134
relationship of sex to, 35
Murder! (film), xiin, 25, 81, 155, 166, 185, 217–18, 252
Murnau, F. W., 28, 258
Museum of Modern Art, AH retrospective at, 79
Music to Be Murdered By (Eminem), 45
Muybridge, Eadweard, 182
“My Screen Memories” (Hitchcock), 61
Mystery Writers of America, 72
Nabokov, Vladimir, 79
National Film Theatre, 51
Natwick, Mildred, 219
Neame, Ronald, 52–53, 190
Newman, Paul, 49–50, 148, 209, 255–56
Newton, Charlie (char.), 160–61, 240, 290
Newton, Emma (char.), 160–61
New Yorker, The, 10, 64, 215, 219
New York Times, 34, 35, 72, 105, 107, 120, 136, 140
New York World-Telegram, 192
Niagara (film), 96
Nine till Six (film), 165
No Bail for the Judge (unfinished film), 227
Nocturnal Animals (film), 210
Normand, Mabel, 83
North by Northwest (film), 7, 19, 63, 66–69, 80, 211, 215, 232, 247, 250, 252
crop-duster scene, 192
Grant in, 19, 143–46, 144
homosexual subtext in, 155–56
Mount Rushmore in, 67, 197, 218
Saint in, 142–43, 148
themes in, 34, 190, 270, 290
working titles for, 67
Nosferatu (film), 117, 258
Notorious (film), 97, 118, 207, 211, 219
Bergman in, 91, 92, 109
Grant in, 85, 219
innovative techniques in, 44–45
themes in, 85, 91, 109, 111, 164, 282
Novak, Kim, 78, 94–95, 107, 179
clashes with AH, 95, 142, 151
Novello, Ivor, 155, 234, 260, 284
Nude Descending a Staircase (Duchamp), 182
Number Seventeen (film), 81, 156, 215, 252
Number Thirteen (or Mrs.Peabody)(unfinished film), 27, 84, 265
Nuremberg trials, 48
Oakley, Charles (Uncle Charlie; char.), 160–61, 277, 290
“Oath Against Modernism” (Pope Pius X), 285
O’Casey, Seán, 73, 263
Olivier, Laurence, 82, 273
Olsen, Chris, 13
Olsson, Jan, 124, 127, 129
Once Upon a Midnight (radio program), 62n
Ondra, Anny, 85, 212, 238
“On Murder Considered as One of the Fine Arts” (De Quincey), 41
On the Waterfront (film), 95
Operation Mincemeat, 189–90
Ormonde, Czenzi, 77, 86
Orwell,
