Few filmmakers have grappled with restrictions as much as Alfred Hitchcock, particularly when it came to the constraints imposed by studio executives concerning what could and could not be shown on screen. Like many great mainstream directors, he faced a tendency to be pigeonholed. Take Steven Spielberg, for instance—often categorized as a “kiddie popcorn guy,” despite his impressive repertoire including Munich and The Post. Martin Scorsese is frequently labeled a gangster filmmaker, overshadowing works like Kundun and Silence. Hitchcock, however, was a master of subtlety and complexity, making it difficult to confine him to a single genre. A mere montage of his most acclaimed films reveals a diverse portfolio, unified by the elements of style, suspense, and surprise.
Far from being superficial, Alfred Hitchcock: The Iconic Film Collection showcases a captivating selection from the later stages of the director’s illustrious career. This collection features six films—Rear Window (1954), To Catch a Thief (1955), Vertigo (1958), North by Northwest (1959), Psycho (1960), and The Birds (1963)—offering audiences everything from elegant romantic crime tales to espionage thrillers, apocalyptic visions, chilling obsessions, and early examples of the slasher genre. This remarkable array underscores Hitchcock’s unparalleled ability to navigate various genres within a short time frame.
Hitchcock’s career spanned approximately half a century, beginning with his silent film apprenticeship in the 1920s and concluding with the dark comedy The Family Plot (1976). He found his rhythm with cleverly constructed thrillers, most notably with The Man Who Knew Too Much (1934), and maintained his status among Hollywood’s elite for a remarkable three decades. Throughout that time, he consistently released at least one film each year, never experiencing a dip in popularity or facing the kind of backlash that led other directors to find themselves in “movie jail.” Notably, the French obsessed over Hitchcock, as captured in Kent Jones’ documentary Hitchcock/Truffaut, which is included as an extra on the Psycho disc.
Hitchcock’s unique ability to identify compelling material suited to his talents is evident in The Iconic Film Collection. He was a master showman who compelled audiences to wonder, “What twist will he present this time?” For instance, in the trailer for Psycho, Hitchcock guides viewers on a tour of the Bates Motel set, playfully withholding details about the film’s gruesome events to spark viewers’ curiosity.
Though he emerged from the era of German Expressionism, Hitchcock was keenly aware of contemporary trends, drawing inspiration from directors like Antonioni during the 1960s. His adaptability allowed him to thrive as technologies evolved from silent to sound film and from black-and-white to color, demonstrating an unwavering commitment to innovation.
The six films within this collection illustrate Hitchcock’s mastery at the peak of his craft, while also highlighting his evolution as an artist. Between 1954 and 1963, he transitioned from producing glossy star vehicles synonymous with the postwar Hollywood style to creating edgier films that employed innovative techniques to challenge viewers. Common themes permeate his work—rooftop chases, domineering maternal figures, profound guilt, mesmerizing blonde protagonists, and tumultuous romances—yet each presentation remains delightfully original. The presence of violence across these films illustrates perseverance in exploring darker themes. The journey from the off-screen killing of Anna Thorwald in Rear Window to the infamous shower scene in Psycho resembles a progression from a classic Agatha Christie mystery to a full-blown horror experience akin to the Texas Chainsaw Massacre.
Hitchcock’s early works, such as Rear Window and To Catch a Thief, present star-studded narratives of the highest caliber. However, unlike other films of the era, they do not fall into complacency. Take Rear Window, as it arguably stands as the finest American film of the decade.
This meticulously crafted narrative brims with sharp dialogue, showcasing James Stewart as L.B. Jeffries—a character confined to a wheelchair within his apartment. Hitchcock’s gamble rested on the assumption that the audience, as natural voyeurs, would be equally captivated by the lives unfolding in the neighboring apartments, mirroring Jeffries’ obsession. Rear Window captures a specific moment in time; its narrative may have felt dated a year later when viewers would prefer watching television rather than peering into their neighbors’ lives.
Grace Kelly’s character, L.B.’s fashion editor girlfriend, adds flair to the plot. Dressed in exquisite Edith Head gowns, she delivers a lively charm as they both speculate about a potential murder across the courtyard. The film brilliantly merges spatial constraints with engaging mystery elements, akin to Hitchcock’s darker, confined work, Rope (1948).
In To Catch a Thief, Kelly plays another glamorous character, this time attempting to evade law enforcement alongside Cary Grant’s reformed jewel thief. This film possesses a more conventional structure, potentially warranting another director’s interpretation. Despite its somewhat predictable plotting—Robie tries to clear his name from a series of thefts—the flirtatious banter and eye-catching scenery keep the narrative lively.
While initially perceived as a departure, Vertigo actually signals Hitchcock’s return to his roots. Eschewing the standard high-gloss thriller, the film takes a darker, psychological turn reminiscent of Rebecca (1940) and Spellbound (1945). Stewart’s Scottie Ferguson embodies a tragic figure, struggling with profound guilt following a traumatic incident. As he becomes ensnared in an obsessive quest for a woman, the film delves into the depths of desire and illusion.
Vertigo exudes a modern sensibility, rendering the city of San Francisco a dreamy, spectral landscape. Scottie’s obsessions unfold against the backdrop of fog-shrouded streets, capturing the viewer in a film that oscillates between hypnotic and bewildering. The protagonist’s journey is less one of heroism and more a descent into a cyclical entrapment of yearning, making it a uniquely insightful film.
Returning to a formula Hitchcock excelled in, North by Northwest melds elements from his earlier works—particularly combining themes from The Man Who Knew Too Much and The Wrong Man—while drawing influences from The 39 Steps (1935). The film centers around Roger Thornhill (Grant), an ad executive unwittingly caught in a web of international intrigue, culminating with a thrilling confrontation atop Mount Rushmore.
Memorable set pieces, such as the iconic crop-duster scene, exemplify Hitchcock’s ability to create tension within expansive landscapes. The film’s sharp dialogue, particularly Grant’s quips, showcases Hitchcock’s flair for both drama and humor.
Though North by Northwest ended an era of star-driven blockbusters, it was followed by major projects featuring lesser-known actors. Released films like Psycho and The Birds often overshadowed their star power with innovative techniques and visual storytelling reminding audiences of Hitchcock’s silent film roots.
Psycho’s unsettling modernity is immediately apparent, beginning with a stark credit sequence that complements Hermann’s haunting score. The narrative opens with the story of secretary Marion Crane (Leigh), whose theft of $40,000 spirals into a descent into horror when she encounters Norman Bates (Perkins).
While Hitchcock’s distinctive themes echo throughout Psycho, the film markedly shifts from his earlier works, toning down the verbal wit in favor of a more chilling atmosphere. The visceral impact of murder in Psycho reaches new emotional depths, distinguishing itself from the more restrained violence in earlier mysteries like Strangers on a Train (1951).
Despite its cultural significance, Psycho often pales in comparison to its sequel, The Birds, which deserves reconsideration. This complex film evolves from an unremarkable romance between heiress Melanie Daniels (Hedren) and lawyer Mitch Brenner (Taylor) to an astonishing exploration of terror as mass avian attacks disrupt their lives. Hitchcock’s approach of forgoing a musical score intensifies the eeriness, rendering the experience even more haunting.
Despite his efforts to keep pace with the new wave of filmmakers, Hitchcock struggled during the shift from the studio system to independent cinema. The late 1960s saw exciting new films breaking boundaries, while Hitchcock’s persistence in pushing against censors began to falter. As he sought backing for the controversial Kaleidoscope, other films, like The Graduate, were reshaping the industry by challenging norms.
In a poignant irony, while Hitchcock effectively released an uncut version of Psycho, triumphing over censorship, he could not escape the swift transformations occurring in Hollywood. Unlike his darker contemporaries, Hitchcock’s signature lightness and wry humor persisted through his body of work, even while addressing unsettling themes.
Ultimately, Alfred Hitchcock was a masterful storyteller capable of evoking terror, delight, and existential insight. His unique ability to blend romance, horror, and psychological depth ensured his lasting impact on the cinema landscape, demonstrating that for Hitchcock, terror, voyeurism, and escapism were all integral aspects of film.
