All language subtitles for Hitchcock 1986 - BBC Omnibus - Part 1

Good evening, friends.

Would you all please examine the tops of
your television sets and see if one of

you doesn't find a goldfish bowl with a
crack in it?

Thank you.

Try and get your fingers in there.

Fight hard to do it. And then the
fingers get weaker and weaker as that

tightens and tightens and the fingers go
away.

Same time as you thresh your head
backwards and forwards.

That's a whole action.

Let's start, Mr. Hitchcock, by
discussing this whole business of

audiences. Do you find that audiences
are...

are frightened by different things now
from the things that frightened them

you started, what, 30 years ago, 35
years ago, making films? No, I wouldn't

so, because after all, they were
frightened as children. You have to

that it's all based on Red Riding Hood,
you see.

Nothing has changed since Red Riding
Hood.

So what they're frightened of today are
exactly the same things they were

frightened of yesterday.

You've nothing to stay for.

You've nothing to live for, really, have
you?

Torture the heroine, Hitchcock would
often say.

A simple piece of advice that goes back
to the earliest days of cinema.

Why don't you?

You all right? All well.

Making us all very happy once more.

Excuse me. I want to go to bed.

Pain again, darling?

Sorry.

May I help you, my lady?

Some hot water, maybe?

I think I'll take the shortcut.

Johnny!

Johnny!

Johnny!

François Truffaut, the film director who
most admired Hitchcock...

said that his murders were filmed like
love scenes and his love scenes like

murders. Slowly.

And slowly.

Let the hands drop.

Eyes begin to stare.

Let the eyes stare.

Open, open.

Open.

I'll cut it.

There is only one master of suspense.

From the American Film Institute, Hitch.

With our great respect.

In 1979, the American Film Institute
paid tribute to Alfred Hitchcock with

Life Achievement Award.

He was 80 years old. He was to die a
year later.

He made 53 films in all. He'd worked in
the movies for more than half a century,

a career that spanned the whole history
of cinema.

Before he came to Hollywood in 1939,
he'd already directed 24 films in

His father, William Hitchcock, ran a
greengrocer's shop in the east end of

London. Alfred was brought up as a
strict Roman Catholic, sent to a Jesuit

school where he claims he learned his
first lessons in suspense.

At college, the method of punishment was
rather a

dramatic thing. I felt that if one had
not done one's

prep...

The form master would say, go for three.

Well, going for three, that was a
sentence.

And it was a sentence as though it were
spoken by a judge.

And it would be, the sentence then would
be carried out by another element,

which would mean a special priest in a
special room with the help of a

strop. And the awful part about this
thing to, say, a little boy of ten was

that having been sentenced, it was up to
him whenever he should

take it.

He could

take it at the first morning

break.

lunchtime, mid -afternoon or the end of
the day.

And always it was deferred until the end
of the day.

a grave error in having a bomb from
which I'd extracted a great deal of

suspense.

And I had the thing go off, which I
should never have done, because they

the relief from their suspense.

Clock going, the time for the bomb to go
off is such a time, and I drew this

thing out and attenuated the whole
business.

then somebody should say, oh, my
goodness, look, there's a bomb.

Pick it up, throw it out the window.
Bang!

But everybody's relieved.

I made the mistake. I let the bomb go
off and kill something.

Bad technique.

There were no such mistakes in the
classic of his English period, The 39

with Robert Donat.

Hitchcock plays games with the form of
the adventure thriller.

and with the audience's expectations.

Darling, how lovely to see you.

Don't mind having a free meal in there.

I was desperate. I'm terribly sorry. I
had to do it. Look here, my name's

They're after me. I swear I'm innocent.
You've got to help me. I've got to keep

free for the next few days.

Well, you should have been passing in
the last few minutes.

This is the man you want, I think.

When we first just know... Wait here and
tell me his name is Hanny.

Is your name Hanny? No.

Are you coming in, sir?

Are they right along?

An uncommonly unattractive young man was
how Hitchcock described himself in his

early 20s.

He had left school at 14, drifted into
various office jobs he didn't like,

including working in an engineering
firm.

He went to evening classes at the
University of London, read a lot, was

passionate about the music hall and the
cinema.

He joined the newly formed Film Society,
which played for the first time foreign

films to small groups of enthusiasts.

At the age of 20, he got a job in an
American film company based in London,

famous players Lasky in Islington. It
later became Paramount.

He began by designing title cards for
the silent movies.

One day he heard that a young British
producer, Michael Balkan, had bought the

rights to a West End play but didn't
have a writer to adapt it for the

I said, I'll write it.

So they said, well, what do you know
about writing? So I said, well, I've

in the editorial department for...

couple of years at Paramount and that
gave me a contact with the writers so I

tried my own hand at writing the script
and here is a sample so they looked at

it and I got the job and then my friend
who was going to be the art director on

the picture he said he couldn't come he
had another job so what are we going to

do for an art director I said I'll do
the art direction and I said all I need

a draftsman so I did so that's how I
started in feature production.

The film, set partly in Paris and partly
in England, was called Woman to Woman.

It was a big success, and it starred
Clive Brook.

Thanks to Michael Balkan, Hitchcock
began directing his own films.

In 1927, he made The Ring, a boxing
story which he'd scripted in two weeks.

Set in his own east end of London, it
astonished audiences and critics with

powerful imagery and realistic
atmosphere.

By 1928, Hitchcock was regarded as one
of the outstanding directors of the

silent era, and in that year he began to
shoot Blackmail.

In the opening sequence, Hitchcock
establishes a day in the life of a young

London detective, played by John
Longdon.

He'd almost finished Blackmail as a
silent movie when he was given the

shoot the final reel in sound with
synchronised dialogue.

I remember the evening when the first
sound film came from the lab, the

first day's rushes.

The whole studio and all the big shots
all went down to Madame Tussauds Cinema

to hear the first day's work.

And there was a lot of bumps and
scratches.

and noises as the film started on.

And then the voices. It was a little
scene in Scotland Yard. And the voices,

mouths began to open, and no sound came
out except a... And that was the end

of the evening. We all went home.

Miss Andra, you asked me to let you hear
your voice on the talking picture.

But, Heath, you mustn't do that.

Why not?

Well, because I can speak well.

Do you realize the squad van will be
here any moment? No, really. Oh, my God,

I'm terribly frightened.

Why? Have you been a bad woman or
something?

Well, not just bad, but... But you've
slept with men.

Oh, no!

You have not. Come here. Stand in your
place. Otherwise, it will not come out

right, as the girl said to the soldier.

That's enough.

Well, Annie Andre, Nancy, with a...

Czech accent.

She couldn't possibly continue, but too
much had been photographed.

So I got another young actress, whose
name was Joan Barry, to sit on the

side with her own mic.

And Annie Under the Czech girl just
mouthed her words so that they both

synchronized.

Please give it to me.

All right, come around.

Come on. Please, please.

Come on, Alice.

There it is.

That's silly, Alice.

That is silly.

Annie Ondra plays the girlfriend of the
detective.

She's been picked up by an artist who
has lured her to his studio with less

honourable intentions.

An innocent girl becomes a murderer. The
detective finds out and conceals it

from his superiors. These are the kind
of contradictions and moral conflicts

that Hitchcock relished and played up in
all his films.

While he was making Blackmail, a still
young and energetic Hitchcock had played

a characteristic trick on his producers.

He'd gone behind their backs and
secretly re -shot not just the final

most of the key sequences in the film
with synchronised sound.

And from the start, he'd begun to
experiment with the dramatic

the new sound process.

I mean, it's one thing to buy chocolates
out of ours, but it's quite another to

stick a knife into a gentleman.

I must say, I feel the same way about
that, too.

A good, clean, honest whack over the
head with a brick is one thing.

There's something British about that.

But knives... No, knives is not right.

I must say, that's what I think and
that's what I feel.

Whatever the provocation, I could never
use a knife.

Now, mind you, a knife is a difficult
thing to handle.

I'm in any knife.

Knife.

Knife.

Knife. Alice, cut us a bit of bread,
will you? Knife.

Knife. Knife.

Knife. Knife.

Knife. Knife.

Knife.

Yeah,

you would have been more careful.

Might have cut somebody with that.

The author of Blackmail became
Hitchcock's regular screenwriter

1930s, Charles Bennett.

In the morning I used to get up and pick
up Hitch in Cromwell Road, where he

lived, at ten o 'clock, exactly.

And he would be sitting on the curb,
waiting for me, with Joan Harrison, who

our secretary, sitting on the curb
beside him.

And sometimes it was raining a day.

but it didn't make any difference and
then we would go to the studio where we

would discuss the script and things like
that and what was going on and what i

was doing with it and that kind of stuff
and then at about one o 'clock

everything would stop and we'd go to
lunch always at the mayfair

hotel right there and have a wonderful
lunch

And then come back, and at that point,
Hitch would

usually go to sleep in the office, and I
would do a little work, and

possibly doze off too slightly, I don't
know. But eventually, about five o

'clock, we would go back to Hitchcock's
flat in Cromwell Road,

where we would start having nice
cocktails for the evening.

and talk more and more and more about
the script. And I think more work was

on the script in the evening over
cocktails than any other time.

And they shared a sense of the absurd.
Even the earliest Hitchcock films are

full of apparently irrelevant comic
vignettes.

But I can't understand, madam, one of my
best songbirds.

It sang all day before you purchased it.
Perhaps in a few days it will settle

down. Nothing won't make it settle down.
I've tried always.

Whistling to it, clapping me hands,
frying bacon, no use. It just sits there

makes me look silly.

Not the bird's fault, I assure you,
madam.

Isn't it?

I'll have my two and nine, please, and
there's your bird back.

I want a canary for company.

Perhaps I can make him sing.

You sure it was him? Listen again.

Did you see, Colton?

Of course you did.

There's a good boy. Now, don't forget,
plenty of watercress and you must

to him. Me whistle? Perhaps you'd like
me to sit in the cage and him do the

housework.

The moment we sat down for these white
ladies' script conferences,

he'd used to put on a hurry music
record.

We used to play this all the time. We
were working the film out.

So I could hardly call it confidence.

I mean, more often than not, I literally
would finish under the table.

And sometimes the maid, Gladys, used to
come in and join in.

She was fairly high by that time, too.

He was so ridiculous sometimes, too.

But in those days, he was...

working out of the Austrian, so was I,
and he had this enormous car, and

of having the windows closed, he had
them glued down so that nobody could

them, because he hated fresh air.

There was a pop of handcuffs, and one
night, just before we finished shooting,

Hitch, Babette, little pop man, called
Fred, I forget what his name was really,

that he wouldn't...

Have the handcuffs locked on him and
stay all night in the studio.

Bet him ten pounds.

But he agreed and did stay all night
handcuffed in the studio.

But before being left alone there, he'd
be given by Hitch quite a strong

laxative in his tea.

So I won't go into what the results
were. I can only imagine them and be

for wretched Fred.

But Hitchcock had his problems.

He was in constant conflict with most of
his producers.

One studio even tried to stop the
release of one of his finest pictures,

Who Knew Too Much.

They thought he was too arty and too
complicated.

They wanted conventional thrillers,
stage plays shot on film.

Hitchcock, in his turn, regarded them as
ignorant philistines.

Yes, I'm quite certain that Hitchcock's
success was in spite of the producers

and certainly not because of them.

Hitch had an arrangement by which he
would be shooting a scene as he wanted

shoot it, but the same props man, his
props, his bekeeping cave used to

rush in and say, they're coming, they're
coming, then Hitch would then pretend

to be shooting the scene as they wanted
it.

Hitch was getting with me to work on a
film, a conventional film, which neither

of us wanted to do.

Anyway, we had to do it.

It's like the pictures, isn't it?

Too much for my liking.

And, uh, say, from the very start, Hitch
meant it to be a burlesque, a stand -up

of those sort of films.

As from the beginning, we just went to
make fun of the whole thing and go,

to the producers who'd given us anything
because we didn't want to do it, you

see. But nevertheless, some pretty good
ideas did come up in it.

But they were, by the way, never
anything to do with the construction or

plot or anything like that.

It just went from moment to moment.

To Hitchcock's disappointment, the
element of parody in Number 17 was

missed by the critics. It was reviewed
as a conventional thriller.

Later, he admitted himself that it was
carelessly made.

It's a film that goes from moment to
moment, from one favourite device to

another. Chance encounters, couples tied
together, technical tricks, and some

virtuoso chase sequences.

Hitchcock's delight in embellishing and
transforming a storyline with his own

idiosyncratic touches caused continual
problems for his writers.

You construct a story perfectly, and
then somebody says, well, this is a

lovely shot, lovely thing, I'd get into
it, this little angle, and you're faced

with the fact of, how the hell do you
alter the story to get this in? And this

was a great problem with Hitch.

Hitchcock added a heroine to John
Buchan's 39 Steps. The original story is

man alone on the run, pursued by both
police and spies.

Oh, it's a whole flock of detectives.

He ensured his characters would remain
linked together by adding a now familiar

device. What about him? I'll soon fix
that.

There, miss, now you're a special
constable. What's the idea? As long as

stay, he stays.

Yes, and as long as I go, you go. Come
on.

Stop them.

They've got to wait.

Come on.

The scene in 39 Steps where Robert Donat
is handcuffed to

Madeline Carroll, and Hitch had the key,
but he said he didn't.

Go and see the prop man. She wanted to
go to the ladies' room. Well, he was

totally relentless, you see, about that.
I mean, it just went on all day.

They were handcuffed together. He'd
never let them go.

It was a long scene, you know.

So it was Donat going into the ladies'
room with Madeline Carroll.

And that, Hitches, was Hitches' idea of
a practical joke.

My shoes and stockings are sold. I think
I'll take them off. It's the first

sensible thing I've heard you say.

Can I be of any interest to you?

No, thank you.

All right.

Here, hold him. Oh, yeah.

I think he was looking always to lighten
the atmosphere. You know, I mean, for

instance, I mean, you get into a very
difficult situation with him, you know,

very difficult situation where you've
got a problem, you know. How are you

to do it? You see, and he'd... Me in
particular, you know, I take everything

heart very much, though, you see.

And he'd let it go to a certain point
when he realised the tension was too

you know.

It's only another movie hour.

It wasn't intended to mean that he was
indifferent about the movie, but that he

wanted me to realize, you know, that it
wasn't the end of the world.

That was, you know, just a problem that
had to be solved.

He was a thinker, and he had, you know,
he had one subject, and that was movies,

you know, so that he was, you know,
streets ahead of everybody.

I mean, ideas were coming away from him
all the time. Did you hear what Hitch

said today? It used to be the cry quite
often.

Hitchcock invented new ideas and he
borrowed and adapted from filmmakers he

admired. This opening scene from Rich
and Strange, 1932, is choreographed in

style of the early French cinema, in
particular the films of René Clair.

As the sequence progresses, Hitchcock
begins to add comic touches of his own.

The scenario for Rich and Strange was
written by Hitchcock's regular script

continuity girl, Alma Revel.

In 1926, they married.

Their professional collaboration
continued.

An incident in the Folies Bergères on
their honeymoon trip to France inspired

them to make a film comedy about the
adventures of a newly married couple

travelling abroad.

There were these fellows with tuxedos. I
said, where is the dancing place? He

said, oh, this way.

And he took us outside the theatre into
a taxi. I said, where are we going? Oh,

he said, it's round the corner.

And we eventually found ourselves in an
elegant whorehouse.

Oh, my dear, the curtain got up too
soon. Then I slipped.

We were sort of put into the position of
the couple in the film.

We were two innocents abroad, and they
took us into a room and showed a

demonstration of two girls copulating,
you know.

And we were astonished. I said, you
realize where we are?

And she was astonished, you know, and we
soon got out of it.

Let's get out of here. I don't like it.
Why not?

Somebody just pinched me.

Where?

You know where.

My mother was a continuity girl.

But they did everything. They didn't
just do the continuity.

I mean, they did dialogue. They did, you
know, sat it on them. conferences

script conferences on the production you
know it was it was quite a job in those

days and she was excellent at it and it
went on uh then they started working

together and then continued working
together and she really although she

screen credit on very few she worked
with him on every picture she was the

person who he relied on to tell him the
truth we have a very average home

life i should say

Most days, even non -working days, we go
to bed early, around 9 .30, and we wake

early. Hitch wakes about half past six,
and he gets home at night, we have

dinner. Then read for a while, before
you know it, it's 9 .30 and time for bed

again.

He was always a performer, in public as
well as in private. The celebrated

personal cameos that became a feature of
every Hitchcock film had started early

on.

And so the unmistakable outlines of
Hitchcock himself became part of the

peculiarly English fabric of his
pictures.

By his mid -thirties, Hitchcock's fame
had spread to America.

The 39 steps had had a surprise success
in New York, full houses and fulsome

praise from the critics for this most
British of spy thrillers.

Nine Steps is an organization of spies
collecting information on behalf of the

Foreign Office of...

Take it easy now.

Take it easy.

All right.

Get the girls on straightaway.

The girls in the doctor right away.

Mr. Memory, what was the secret formula
you were taking out of the country?

I think it's an interest that many
English people have.

After all, they all have the most, how
shall we call them, literate crimes.

in this country, whereas everywhere else
they just shoot and run, you know.

Here they're nicely done with arsenic or
bathtubs and that sort of thing.

But by 1938, the charm of making British
pictures was wearing thin.

Hitchcock had begun to look to America.

He said, well, can you imagine, we're
going down towards Gravesend on the

estuary, he said.

Mizzling with rain, he said, the sky was
grey, the rain was grey, the mud was

grey, I was grey. He said, when I got to
my hotel, he said, there was a telegram

from Selznick.

David Selznick was the most powerful
independent producer in Hollywood.

He offered Hitchcock a two -year
contract, and in 1939, England's leading

director, plus his family, set sail for
America.

He was not yet 40.

He took his home movie camera with him.
These are Hitchcock's own shots of

Hollywood Boulevard.

His regular screenwriter, Charles
Bennett, had already moved to America.

Hollywood was a strange place from a
British point of view in those days.

The British colony was dominated by Orby
Smith, and then there were all the

Ronald Colemans and the Cary Grants. I
mean, all these people were Robert

Stevenson's. They were all the British
colony.

And Hitch...

It would have nothing whatever to do
with it. He wasn't a bit interested in

British colony.

It was a very tight colony headed by
Ronald Coleman and his wife, Benita

Hume, Herbert Marshall, Basil Rathbone,
Cedric

Hardwick, the British consul at the
time, Eric Clough.

and many others, the Nigel Bruce's.

And I don't think Hitchcock was
acceptable until he was a great success,

then, of course, they were clamouring to
have him. And dear old Hitch, they

would say, I'm not sure he went too much
after that.

Hitchcock's first American film turned
out to be all British. The story, the

leading actors, and, of course, the
director.

It was a full -blown romantic drama.

But partly through Selznick's influence,
the film concentrated more on the

psychology of the characters and their
situation than the pure suspense of the

story.

How could I ask you to love me when I
knew you loved Rebecca still?

Whenever you touched me, I knew you were
comparing me with Rebecca.

What is the mystery of Rebecca? What
dread secret is hidden within the silent

walls of Manderley?

It's not only in this room.

It's in all the rooms in the house.

I almost hear it now.

Do you think the dead come back and
watch the living?

Hitchcock would have a large pad of
drawing paper beside him, and he would

draw the visual effect that he wanted me
to have, whether it was cowering in a

chair, dimly lit, or just maybe one eye
peeking out, that kind of thing. For

instance, he said, Now, you're a naive
bride. Carry your handbag.

because you would do that in an hotel,
but you wouldn't do it in your own

but you wouldn't know that as this
unschooled child that you're playing.

Things like that he gave me.

Rebecca had elements of a sinister fairy
story about it.

As the newly married Mrs. de Winter,
Joan Fontaine finds her life

by the haunting presence of Rebecca, the
first Mrs. de Winter.

Mrs. De Winter?

Oh, I'm afraid you've made a mistake.
Mrs. De Winter's been dead for over a

year.

Oh, I mean... Oh.

That was the house telephone, madam.

Probably the head gardener wishing
instructions.

Did you want to see me, Mrs. Danvers?

Mr. De Winter informed me that his
sister, Mrs. Lacey, and Major Lacey are

expected for luncheon.

I'd like to know if you approve of the
menu.

Oh, well, I'm sure it's very suitable.
Very nice indeed.

You'll notice, madam, that I've left a
blank space for the sauce.

Mrs. De Winter was most particular about
sauces.

Let's have whatever you think that Mrs.
De Winter would have ordered.

Thank you, madam.

When you've finished your letters,
Robert will take them to the post.

My letters?

Oh, yes, of course. Thank you, Mrs.
Danvers.

He'd take me aside and say, kid, we're
going to do it this way now. I want you

to do it this or that.

And don't do anything.

Just think this.

China cupid, sir.

Oh, dear, that's one of our treasures,
isn't it?

Well, tell Mrs. Danvers to get to the
bottom of it somehow and tell her I'm

it wasn't Robert. Very good, sir.

Why do they come to me with these
things? That's your job, sweetheart.

Maxim, I wanted to tell you, but I
forgot.

The fact is...

I broke the china cupid. You broke it?
Now, why on earth didn't you say

something about it when Fritz was here?

I don't know. I didn't like to. I was
afraid he'd think me a fool.

Well, he's thinking much more of a fool
now. You'll have to explain to him and

Mrs. Danvers.

Oh, no, Maxim. You do it. I'll go
upstairs. Don't be such a little idiot,

darling. Anybody would think you were
afraid of them.

The films that followed Rebecca, Foreign
Correspondent and Suspicion, also had

English themes.

And it was only in 1943, four years
after his arrival in America, that

turned his camera on the American
landscape for a totally American story.

He brought in Thornton Wilder, author of
Our Town, to prepare the storyline for

the film that became Shadow of a Doubt.
As in the later Psycho, the central

character is the villain.

Uncle Charlie is a psychopath who charms
and then strangles rich widows for

their money.

At the start of the film... Police
investigators are closing in on him, and

decides to flee to his sister's family
in the small town of Santa Rosa.

There, he casts a spell over an adoring
favorite niece, also called Charlie.

She was played by an Oscar -winning
young actress, Teresa Wright.

He was very intrigued by the innocence,
the combination of the innocence of the

small American town as against the...

corruption of the uncle's life and this
element being brought into the town

let alone the personal element of what
happened to the family and the mother

so on the intriguing thing of this the
young girl's love

instilled by her mother no doubt but
also the fascination that he held for

because you opened up with her on the
bed saying

I'm bored with this town. Nothing ever
happens. I wish something would happen

this town.

Of course, something did, much more than
she'd ever dreamed. But in her wildest

dreams, she wouldn't have imagined Uncle
Charlie to be as exciting a person as

he seemed to her when he first arrived.

I mean, she'd heard about him from her
mother and grew to love him because of

that, and she was named after him. There
was this whole mystique of a tie

between us.

What's the matter, Charlie?

What's wrong?

Gradually, the girl, almost a woman,
comes to suspect that her elegant Uncle

Charlie is the mystery killer wanted by
the police.

I want to talk to you. You're hurting my
arm again.

Don't come in here with me.

I can't. I've never been in a place like
this. Go on in.

It's a murder story underpinned by
powerful feelings of thwarted love.

In the key confrontation, trusting
innocence and the power of evil come

face. As always in Hitchcock, they seem
inextricably linked together. Why did

you bring me in here?

What does it matter where we are?

You see, the world today is, you know,
full of brutality.

And... But more than that, it's

kind of... It's developed into brutality
with a smile.

Oh, Charlie, now, don't start imagining
things.

How could you do such things?

You're my uncle, my mother's brother.

We thought you were the most wonderful
man in the world.

Most wonderful and the best. Charlie,
what do you know?

I'm sorry I was so long. They're also
busy.

Whose is it?

Ain't it beautiful?

I'd just die for a ring like that.

Yes, sir, for a ring like that, I'd just
about die.

I love jewelry.

Real jewelry.

You notice I didn't even have to ask if
it was real. You can tell.

I can.

Bring me another brandy.

Is it out?

Sit down.

You think you know something, don't you?

You think you're the clever little girl
that knows something.

There's so much you don't know.

So much.

What do you know, really?

You're just an ordinary little girl
living in an ordinary little town.

You wake up every morning of your life
and you know perfectly well that there's

nothing in the world to trouble you.

You go through your ordinary little day.

And at night you sleep your untroubled,
ordinary little sleep filled with

peaceful, stupid dreams.

And I brought you nightmares.

But our evil and our good are getting
closer together

today.

That the hero is no longer tall with a
perfect profile

or flaxen hair.

And the villain doesn't kick the dog
anymore.

He's a charmer. In fact, we've reached
the point in today's sophisticated

era that you can barely tell one

from the other.

In Notorious, Ingrid Bergman and Cary
Grant, working for the FBI, confront the

charming face of evil.

Claude Rains plays an ex -Nazi who's
taken refuge in South America.

Bergman has had to marry him in order to
infiltrate his organisation.

She knows that the locked wine cellar
holds a vital clue.

I'm surprised Mr Devlin's coming
tonight.

And Hitchcock weaves together the
deceptions of spying and loving.

or have him any false impression of
within a minute.

Darling.

It's not that I don't trust you. When
you're in love at my age, every man who

looks at you, woman, is a menace. And
forgive me for even talking about it.

He was the master of the situation.

He was the master of the vignette. He
was the master of the small moment, the

master of the short story.

And he always knew about those. He
always knew what he wanted to do with

He did not have so much of an overall
view of the story he was

going to tell.

That's why he often got into trouble,
you see.

He never saw it in terms of a completely
linear thing.

He thought... And when he talked to you
about a picture, when he would say

he was about to do a new picture and he
wanted to tell you about it, he never

told you the story.

He told you scenes, his favorite scenes.

And so it became, for him, it was like a
mosaic.

When he finally got the entire mosaic
put together, then you saw the story.

Now, if you didn't have a good writer,
there were going to be pieces missing in

that mosaic.

Five good scenes in a movie, and you've
got a movie out.

All you've got to do is fill in the
spaces.

George Roy Hill said to me, I picked
that up from Hitch, he said, he's

absolutely right.

Hitch said four, he said, I say five.

It was just that.

difference but i mean that's you know
another director like mike nichols every

time i went into mike nichols office to
talk to him about the movies i was

working on with him he'd be have a movie
over there with hedgecock's pictures

you know going through and stopping it
and seeing where the cutting was they

deferred to hedge all of them

Vintage sand.

Because of these things that we found
them. Help me find a bottle of wine with

the same label as these others. It isn't
really sand, is it?

I think it's some kind of metal ore.

The MacGuffin is the thing that the
spies are after but the audience don't

And I thought of the idea they were
collecting samples of uranium -235.

from which the future atom bomb would be
made.

So the producer said, oh, that's a bit
far -fetched. What atom bomb?

I said, well, it's the both sides are
looking for it. We read of the Germans

experimenting with heavy water.

Of course they want the atom bomb.

I said, look, if you don't like uranium
-235, let's make it industrial

diamonds.

But it makes no difference. It's what we
call the MacGuffin.

It's called the MacGuffin because the
story goes that two men are in an

train, and one says across to the other,
he says, excuse me, sir, what is that

strange -looking package above your
head? He said, that's the MacGuffin.

He said, what's that for? He said,
that's for trapping lions in the

Highlands. So the other man said, but
there are no lions in the Scottish

Highlands. He said, then that's no
MacGuffin.

Confusion and disorder were for the
screen.

While he was working, Hitchcock insisted
on calm and order.

He surrounded himself with a group of
trusted technicians and writers with

he worked again and again. His shooting
was pre -planned down to the last

detail. Everything is decided on paper.

I do not improvise after the picture's
finished or

very much while the picture is being
made.

A little bit is permissible.

But if you don't make your picture on
paper ahead of time with all the desired

effects, if you cannot visualize or
hear, then this would be like a musician

composing with a full orchestra in front
of him.

So he's got his blank music and saying,
flute, give me a note, will you please?

And the flute gives him, thank you very
much, and he writes it down.

There's the comparison. I think the film
should be made on paper ahead of time.

And he always tried, wherever possible,
to recast the same stars.

They bring something immediate to the
film, for one thing. You don't have to

explain a great deal. If you have Cary
Grant, you don't explain him. He is.

This is a kind of existential arriving
at the whole problem of acting, maybe.

But he did require that they were
professionals, that they were good at

job. I was always amazed at the
performances he got out of

people because you never saw him work at
that.

Somehow it was just the fact that he set
the scene correctly, set the cameras

correctly, knew how they ought to move,
and every move that they made he had

correctly gauged in his mind.

He could get more sex appeal into a
scene than any... I mean, you could

ten movie stars today nude and put them
all in bed and they wouldn't be nearly

as exciting as...

Gray Skelly in a silk blouse talking to
James Stewart in rear window

or Ingrid at any point in the picture. I
mean, it was

so real. It was so... And I think it's
because he did

establish this tie between people. It
was this undercurrent, this

tie.

And that is much more intriguing than
just bodies in a heap.

What?

Maybe the fact that you don't love me.

Hello?

Palace Hotel?

Coming, thanks.

T .R. Devlin. Any messages for me?

When I don't love you, I'll let you
know.

You haven't said anything.

Actions speak louder than words.

There is?

Good. Read it to me, please.

Prescott wants me over right away.

Did he say what about it?

No.

Maybe it's our assignment.

Probably.

Bergman had a wonderful sensuality. You
could almost see it bubbling up inside

of her.

Do you want me to bring anything back
with me?

Yes. What about a nice cup of wine?

Let's have a drink.

Whereas Kelly had that cool, tall grace.

The grace of grace.

And the sensuality was not as marked.

But it was in her eyes.

It was in her smile.

It seemed like a more intellectual
quality, but had appeal to Hitchcock

much. I don't believe in stamping the
woman with the word sex all over her.

I think it should be discovered in the
course of our getting acquainted with

her. And it's more interesting for this
thing to be not apparent.

In other words... We don't have to have
the sex hanging round her neck like

baubles all over.

I think there should be a certain
mystery about it.

But why is she always blonde?

I think that's traditional.

I think that dates back to Mary
Pickford. If you remember, tradition of

cinema is that the hero was always a
dark man and the heroine was always a

blonde. I think it's the...

simplification of identification,
really.

In our first conference, he said to me,
one of my

problems is that

Grace Kelly is going to do the picture,
and she's too stiff.

She's too controlled. She's too quiet.

And I'd like this girl to be interesting
somehow and spend some days with her

and see, you know, get to know her and
see what you can do. When I met Grace

Kelly, she was a delightful, wonderful,
impish, beautiful person, full of good

humor and everything. But when she was
on the set... Of course, her part

required her to play certain things.

She acted.

She became an actress. In other words,
she lost some of her naturalness. So

after meeting her, I tried to put that
into the script.

Anything else bothering you?

Mm -hmm.

Oh, yeah.

Reading from top to bottom.

Lisa.

Fremont. Is this the Lisa Fremont who
never wears the same dress twice?

Only because it's expected of her.

It's right off the Paris plane.

You think it'll sell?

Well, that depends on the quote. Let's
see, now, is the airplane ticket over?

Throughout the entire film, James
Stewart, playing a photographer with a

leg, never gets out of his wheelchair,
never leaves his room.

They ought to list that dress on the
stocking chain.

Now, rear window.

Although the film is in one room and the
man is in one position, actually it's

one of the most cinematic films I've
made because it demands his look, what

sees, and his interpretation.

It's all visual.

Now, if I'm up there with a method actor
and says, well, I don't know whether

I'd look there.

I'm sunk. I can't make the picture.

Stuart keeps waking during the night.

Suspicious scenes are taking place in
the apartment opposite.

He brought out the importance of
reaction.

He brought out the importance of the
moves you make, of the kind of move and

intensity of the movements.

And I always remember he would come up
every once in a while and he would say,

Jim, he always called me Jim. He said,
Jim, the scene is tired.

And I knew exactly what he meant.

I knew exactly what he meant because in
your effort to get it, that

intense thing that he wanted.

you were just taking too long at it. And
it was, as he said, tired.

The entire action at Rear Window is
confined to this one set.

Hitchcock never moves outside the
claustrophobia of the Tenement Square.

He said, you know, film doesn't need a
vast moving canvas. You don't have to

have, well, I suppose in the modern, you
don't have to have car crashes and

explosions to make a film. You need to
know what you want to say and be able to

say it with film.

And he said, you could make a film in a
closet if you had the proper story.

He was fascinated by the idea of making
a film in one take.

And out of that came Rope, which was
made essentially to look like it was in

take.

Actually, it was in several reels, but
the appearance was in one take.

Unfortunately, in Rope, I believe that
people were rather more...

in the idea that it was made in one take
than the rather interesting

psychological study that it presented.

How would you get David out of the way?
Well, let me see.

At the appointed time, David would
arrive. I'd walk slowly out of the room

the hall and greet him.

Tell him how fine he's looking and so
forth.

And take his hat.

And I'd bring him in here.

Make some small talk to put him at his
ease.

Probably offer him a drink.

Then he'd sit down.

Yes. I'd try to make it all very
pleasant, you understand.

Philip would probably play the piano.

Now, as I recall, David was quite
strong.

He'd have to be knocked out.

So I'd move quietly around behind the
chair and hit him on the head with

something.

The body would fall forward on the
floor.

Then where would you put him?

Well,

uh, well, let me see.

The sound department, after a couple of
days' work, came to him

and said the rolling...

of the walls, which he had on rubber
wheels so that it would cut out the

Even with the rubber wheels, this was
too much, and they couldn't accept it as

the background noise.

We didn't faze Mr. Hitchcock one thing.
He said, well, that's very simple. What

we'll do, we'll do one shot for the
camera, and then we'll take the camera

open up all the walls, and let the
cast...

go through their stuff for this take
just for the sound and had maybe 10,

15 mics all over the place so that
nothing moved.

And at first we said this is impossible
because we couldn't possibly do

it the same twice in a row, which wasn't
true because we had become

so well up on the lines.

because of this way he had of doing the
picture, that we did it once for

camera and then started and did the
thing again for sound.

The technique overwhelmed the story, and
Rope wasn't a success.

But as he moved into the 50s, Hitchcock
would reach the peak of his powers with

masterpieces of suspense and adventure
thrillers, each of them a perfect

marriage of technical brilliance with
character and storyline.

In the 60s and 70s, his apparently
faltering skills at blending these

ingredients become the major argument
about the art of Alfred Hitchcock.

Even the writers who worked most closely
with him have different views.

He relied on suspense and stars to sell
his pictures

when basically he should have been
concerned...

with the script more than anything. And
where the script was good and blended

with the stars were his biggest
successes.

Rebecca is an example.

Rebecca, of course, the producer was
David Selznick, who...

was very wise cinematically, not in
suspense, but in all filmmaking, and

the balance that a good film needed.

Hitch's films were frequently unbalanced
to the suspense side, to the device

side, and not to the characterization or
dialogue side.

He was always everybody in a film.

Part of his greatness is the fact that
he was all his characters in the film,

and he was also the camera.

There has never been a director like
him. Never in the history of films. I go

way back. I mean, as an observer.

And Hitchcock is the only man I can
think of who actually was

the camera.

It was his instrument, and he was its
instrument, and they were one.

From Young and Innocent, 1938, this is a
vintage moment of Hitchcock.

In this ballroom lurks the villain.

Here's one small physical characteristic
that will give him away.

Every man who plays in the band is
wonderful too.

I've got to give credit where credit is
due.

But when it comes to make that music up,
make you give it all it's got, I'm

right here.

to tell you, mister, no one can like the
drummer man.

In Omnibus next week, we continue this
profile of Alfred Hitchcock, from the

achievements of the 50s and 60s to the
problems and struggles of his later

career.