Alfred Hitchcock
Alfred Hitchcock
RANKED:
23. The Man Who Knew Too Much (1934)
The first "The Man Who Knew Too Much" that Alfred Hitchcock made in his career was a film full of espionage and intrigue. Moreover, it was the first film that Peter Lorre performed in after escaping the Nazis in 1934. Hooking up with Hitchcock was a marvelous way to begin his English-speaking career. The film was also a commercial and critical success that continue Hitchcock's growing reputation for the 'thriller' genre.
22. Blackmail (1929)
Coming high off his latest hit, "The Lodger," Alfred Hitchcock was tasked with creating the United Kingdom's first ever sound film. Although he was uncertain about the addition to sound in pictures, he utilized it to his advantage. Taking the story of a young woman who kills a would-be rapist in defense, she evades capture in plain sight. Her guilt and trauma weigh on her, as Hitchcock uses sound (and lack-thereof) to infuse the film with paranoia, guilt, and suspense. Will she be discovered by her Scotland Yard boyfriend whose been tasked with the case? Will her guilt and shame lead her to confess? Will a mysterious bystander who holds a piece of evidence successfully blackmail her? All these questions create a bubble of anxiety ready to burst.
21. Foreign Correspondent (1940)
Although it was Alfred Hitchcock's second film made in America, after 1940's "Rebecca," "Foreign Correspondent" feels very much like the UK films that he made in the decade prior. Centering on an American journalist who voyages to the UK to be a foreign correspondent, the film follows the protagonist down a web of conspiracy and political espionage. Although the US had not officially entered the war, "Foreign Correspondent" was a propagandic measure to ease American public consciousness into joining the European efforts.
20. Frenzy (1972)
In the penultimate film of Alfred Hitchcock's career, he returns to the suspense genre, returns to the 'innocent man accused of something he didn't do' plot device, and returns to London after being in Hollywood for over 30 years. The film centers on a man accused of being the 'necktie strangler,' a serial killer whose been going around the streets of London strangling women to death with his neckties. "Frenzy" is perhaps Hitchcock's most 'R' rated film of his career - showing full nudity as well as disturbing scenes of rape and murder. The film was the last great Hitchcockian suspense film of his illustrious career.
19. To Catch a Thief (1955)
After coming off the monumental success of "Rear Window," Alfred Hitchcock decided to go on holiday in France. Of course, he filmed an entire movie whilst there. "To Catch a Thief" is Hitchcock at his most commercial. It stars Cary Grant as a former jewel thief who must clear his name when someone decides to pick up the ball and impersonate him. The entire film has the aesthetic of a James Bond film, almost a decade before the famous spy would begin his long career on film. Full of car chases, espionage, love interests, and lavish locations, "To Catch a Thief" seems to have started a certain aesthetic well before well before the famous MIA spy ever did. The result is a breezy, summer commercial fair that keeps in line with the classic Hitchcock trope of the "wrong man trying to clear his name."
18. Suspicion (1941)
Alfred Hitchcock's 1941 film "Suspicion," despite being a hit, was considered by the director to be one of his most disappointing efforts. In adapting the 1932 novel "Before the Fact" by Francis Illes, Hitchcock wanted to present a story from the point of view of someone about to be murdered. He never got his wish, however, as RKO Studios changed the ending because they did not want Cary Grant to lose his commercial viability in being portrayed as a murderer. Despite this, the film still is full of suspense, and well...suspicion.
17. The Man Who Knew Too Much (1956)
Alfred Hitchcock's 1956 film "The Man Who Knew Too Much" is a reimagining of his 1934 film of the same name. In an interview with Francois Truffaut, Hitchcock stated that the first version "is the work of a talented amateur," while the second "was made by a professional." This becomes apparent when watching both films, as the 1956 version offers far more intrigue and demonstrates Hitchcock's style in a more straightforward and smooth way. It carries with it Hitchcock's obsession with the everyman dragged into a world of political conspiracy and makes for a suspenseful action affair.
16. North by Northwest (1959)
One of Hitchcock's most commercially-minded films also just happens to be one of his most commercially successful. Go figure. "North by Northwest" takes the long-used Hitchockian trope of "wrong man accused of something he didn't do" and turns it into a proto-James-Bond flick. Much like the James Bond films to come only a few years later, "North by Northwest" has it all: an espionage story, a charming villain, a love interest torn between two sides, colorful locations, and above all, the smooth-talking, wisecracking, and daring leading man. No better to play James Bond before James Bond ever existed than the ever charming Cary Grant.
15. Notorious (1946)
With 1946's "Notorious," Alfred Hitchcock was able to spread his wings for the first time as a producer of his own work. This allowed him to polish the script, hire his own cast, and direct without someone looking over his shoulder. The result in romantic espionage thriller that many consider a Hitchcock classic. Ingrid Bergman's Alicia is thrust into a den of Nazi executives hiding out in Rio de Janeiro, as she is prostituted by the United States government. Coming just off of the second World War, it's amazing how a story involving exploitation by the U.S. government made it past the censors.
14. Spellbound (1945)
For the production of 1945 hit "Spellbound," known control freak Alfred Hitchcock teamed up for a second time with known control freak, producer David O. Selznick. When the two worked together, it was always quiet tenuous for the both of them. However, their conflictual push-and-pull relationship seemed to create something both artistic as well as commercial every time. With "Spellbound," they dive into the realms of psychoanalysis. Starring Ingmar Bergman and Gregory Peck, the film deals with a psychoanalyst trying to uncover the truth about one of her patients and in doing so, falls in love with him.
13. The Lodger (1927)
Alfred Hitchcock's enormous discography dates all the way back to the silent era. The film that made him a notable director, 1927's "The Lodger" also helped establish the "thriller' genre as a popular film concept. It not only demonstrated the signature motifs of a Hitchcockian thriller, but also managed to mirror the social unrest and paranoia of a post-WWI audience, thanks in part to the influence of the German Expressionist films of Murnau and Lang. Its 'Jack the Ripper'-style story managed to thrill audiences everywhere and launch one of the most celebrated careers in film history.
12. The Wrong Man (1956)
1956's "The Wrong Man" feels like Alfred Hitchcock's attempt a a noir, at a time when the noir genre had reached its natural conclusion. Despite being noir-influenced, it still has all the landmarks of a Hitchcockian suspense film. In fact, you might say the film is Hitchcock boiled down to its very essence. Hitchcock often filmed stories involving an innocent everyman who gets pulled from his everyday life into a web of trouble. His films often included the 'innocent man accused of something he didn't do' trope. Because of this, "The Wrong Man" feels like Hitchcock at his most molecular level, including the title itself. On top of that, he adds brushstrokes of Fritz Lang, an originator of the noir genre. We as viewers do not get rewarded once the protagonist's innocence is proven. We expect some gratifying resolution. Rather, the protagonist's life is in shambles and is unrepairable. It is Hitchcock at his simples, most realist, and perhaps above all, his bleakest.
11. Strangers on a Train (1951)
Alfred Hitchcock's 1951 hit "Strangers on a Train" would be his most visually stunning to date. When a psychopath murders a tennis star's promiscuous wife on his behalf, he must attempt to evade the fallout of its consequences. Hitchcock films every scene with meticulous craft, as he demonstrates visual puns and plays on the opposite double pairing between these two men. He uses light and shadow to demonstrate the light and darkness separating them, and then paints colors of grey, blurring their lines. There are a few shots from the film that will remain iconic in film history that shows just how much of a technical master Hitchcock truly is.
10. The 39 Steps (1935)
With his 1935 smash hit, "The 39 Steps," Alfred Hitchcock started to come into his own as a singular voice in filmmaking. Using elements of suspense, drama, sexual tension, adventure, and thrills, Hitchcock was able to craft a commercial hit that would mark the formula for commercial hits to follow. It also embodied the 'innocent man swept up in intrigue' formula he would continue to come back to in his career. Not only this, "The 39 Steps" painted a portrait of a sleepy Britain unaware of the socioeconomic fallout that was taking place right under their noses.
9. The Birds (1963)
"The Birds" comes at the very tail end of Alfred Hitchcock's career and the idea behind the story seems to fit in perfectly with the natural progression of his typical themes. A typical Hitchcockian thriller consists of an everyday character going about their everyday life who suddenly is faced with an existential threat. That threat is usually political conspiracy or murder. With "The Birds," it's the apocalypse. This maximalist conclusion to Hitchcock's progressing themes has humanity itself being wiped away, along with all our petty problems and daily melodrama. Despite being recognized as an aging master making one last suspense thriller for 'old Hollywood,' Alfred Hitchcock's natural thematic conclusion would go on to provide inspiration to the modern conception of the American 'blockbuster.'
8. Shadow of a Doubt (1943)
Despite entering World War II in the early 1940s, most everyday American citizens enjoyed the comforts of their domestic life while those in Europe dealt with death, tragedy, and chaos. Alfred Hitchcock's 1943 film "Shadow of a Doubt" sees that idyllic, everyday American small town life being invaded by an evil force. In this case, Uncle Charlie comes to visit his sister's family. What they don't realize is that he is on the run for murder. When his young niece begins to suspect, her safety and the safety of everyone around become an issue. "Shadow of a Doubt" seems to envelope the sentiment happening in America at the time. The horror and evils of the war were a creeping notion seated just under the surface of the public consciousness, threatening to upend their safe domestic tranquility.
7. Dial M for Murder (1954)
In the 1950s, Alfred Hitchcock was in his prime. Being his own producer, he had full control over his own projects. Even the projects he was 'forced' to do by the studio turned into hits. "Dial M for Murder" was one such hit. Based on the stage play of the same name, the story takes place in one single apartment. However, unlike Hitchcock's experimental 1948 film "Rope," "Dial M for Murder" is not edited like a long, single one-shot. The story is the carefully constructed plan by a man to murder his own wife. As you watch, the plan, as perfectly planned out as it was, does go through some hiccups that require adjusting. The film is like watching a high wire act, as you're on the edge of your seat wondering if about the success of the plan, the life of Grace Kelly's Margot, the attempted cover-up, and the catching of Ray Milland's murderous Tony.
6. Rebecca (1940)
Alfred Hitchcock's first film he directed when he arrived in Hollywood, "Rebecca" went on to win "Best Picture" at the 13th Academy Awards and remains a classic of the period. When a newly married Mrs. de Winter arrives at her husband's Manderley estate, she is haunted by the memory of his late wife, Rebecca. Although never in the film, Rebecca is continuously brought up by every around her, to the point of Rebecca becoming an overbearing presence. The memory of Rebecca hangs on every moment, haunting the film with her lack of presence. This essentially makes the film a ghost story, without any actual ghosts. It becomes apparent that our protagonist will never replace Rebecca and will never fit in to her new economic lifestyle. She can never fill the shoes of this larger-than-life presence, and this perceived ideal of beauty, fashion, and social status can never be acquired. She will never be Rebecca, and neither will we. With Hitchcock's expert hand and through his borrowed-expressionism, he infuses the Manderley estate with eeriness and dread, identifying with the psychological distress and fright of our protagonist. With this, he makes "Rebecca" an American gothic classic.
5. The Lady Vanishes (1938)
The film that not only sent Alfred Hitchcock to Hollywood, but is also the most "Hitchcockian" of all his pre-Hollywood British films, "The Lady Vanishes" was a smash success amongst global audiences. After our protagonist, Iris, is helped on a train by an elderly governess named Miss Froy after a nasty head injury, she discovers that Miss Froy has mysterious vanished. What's worse is none of the passengers seem to admit that Miss Froy even existed. Was Iris hallucinating Miss Froy after her head injury? As Iris digs deeper, with the help of a friendly passenger named Gilbert, the two of them uncover a web of conspiracy and international espionage. On top of being an incredibly engaging mystery thriller, the film also subtly comments on the contemporary climate of Britain, as they were incredibly reluctant to become involved in the political power struggles of Europe at the time. The film was so engaging, it caught the attention of Hollywood producer David O. Selznick, who bought Hitchcock his ticket to Hollywood.
4. Rope (1948)
When Alfred Hitchcock's "Rope" was released in 1948, many critics and audiences panned it as "gimmicky." This was due to the experimental nature of the film. The entirety of the film's plot is shot like a single, one-take tracking shot. Because of this, many felt the camerawork detracted from the actual story. However, retrospectively, many audiences would disagree. Since our visual literacy has increased, we are now far used to innovative camerawork and single, long takes. When we move past the technical experimentation of the film, you see a film evocative of America fresh off the horrors of World War II. The film demonstrates the moral corruption of post-war intellectuals. After the age of industrialism, many intellectuals began to develop a more cold, mechanical way of looking at the world. These philosophies were taken to extremes during the war and the fallout was horrifying. Once Jimmy Stewart's character sees how dangerous his teachings have been on his students, it is already too late. Their moral decay of our society has already taken hold. And there's already a dead body to show for it.
3. Psycho (1960)
Alfred Hitchcock's 1960 film "Psycho" is his most experimental and extreme film. Despite being the cheapest Hollywood film he would ever make, it was Hitchcock most financially successful film. Not only this, it was his greatest contribution to the art of film and is still revered to this day as one of the greatest pieces of cinema ever constructed. It is an attack on the senses, an attack on your perspective as a viewer, and an attack on conventional Hollywood standards. It is Hitchcock going full out on the themes he's been crafting in his films since the 1920s. It is him at his most uncensored. "Psycho" not only changed the landscape for cinema, but for the conception of the contemporary horror genre. It is meant to unnerve us, it is a debasement of morals, and it shows us that which we do not want to see. It is Hitchcock thorwing away the big-budget, star-studded Hollywood film for an independent style film that attacks its own audience. Cinema would never be the same again.
2. Vertigo (1958)
By far Alfred Hitchcock's most perplexing film, "Vertigo" plays out like a psychological fever dream film noir. While watching, you're never entirely sure where he's leading you. The culmination of mystery, sanity vs insanity, body doubles, conspiracy, shifting perspectives, shifting themes and tones, and shifting notions about the psychology of our characters places us in a state of imbalance. Hitchcock pulls you into a psychological entrapment, presenting a colorful, tasty treat for you to chase. While chasing it down, you only go further and further into the realms of confusion, imbalance, and above all, vertigo. To achieve this state of singular focus on chasing the rabbit down the rabbit hole, Hitchcock creates an eerie, dreamlike quality to the film. The whole film is layered with visual indulgences, engulfing the viewer into the imbalanced psychological of its characters. "Vertigo" is a film that certainly leaves an enormous impression on its viewer, and for that is one of Hitchcock's greatest achievements.
1. Rear Window (1954)
One of Hitchcock's greatest films also just happens to be one of the greatest films of all time. "Rear Window" is a complex examination of voyeurism, spectacle, and obsession. As a wheelchair-bound photojournalist is stuck in his apartment, he begins to look out at the lives of his neighbors in their apartments in a Greenwich Village courtyard. One night, he suspects that one of them may have murdered their wife. Like our protagonist, we too become obsessed with the lives of these neighbors. We watch them closely, examine their every movement, and speculate to no end about their lives. We even do this when we watch films. In watching films, we become a passive observer, unable to be active in the images we are seeing - like our protagonist stuck in his chair/apartment. We becomes psychologically confined to this state, as we obsessively consume content and spectacle. However, like the protagonist, this passive observation hinders our ability to engage actively with our own life. This examination of the lives of others, in fact, is an examination of our own selves - and our own fallibility in chasing down obsessive observing. On top of this thematic demonstration, Hitchcock is able to allow for this obsession to go to its breaking point, with his signature style of suspense.
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