The Abandoned and Forsaken: Prop Departments of Old Hollywood

|Zach Staads| Before I sat down to watch Notorious, before I knew it was a Hitchcock film, before I’d seen a single frame, still, or trailer, I saw the Criterion cover. It was a very simple picture: Two people embracing, one facing away, and the other, Ingrid Bergman, facing out… Continue reading

From the Darkness: The Influence of German Expressionism on Hitchcock’s Strangers on a Train

|Daniel McCabe| Strangers on a Train (1951) comes from the darkness, and not only because Alfred Hitchcock (1899-1980) shot the film in black and white. It draws influences from the German Expressionist films of the 1920s to create a foreboding mood while using the conventions… Continue reading

“Without Guilt or Remorse”: A Deep Dive into the Life of Hitchcock Star Farley Granger

|Dylan Hawthron| Before we actually start the movie, though, we see the Warner Bros. logo, followed by a screen announcing the lead actors: Farley Granger Mr. Granger appears by arrangement with Samuel Goldwyn Ruth Roman Robert Walker The fine print sticks out in an otherwise… Continue reading

Shadow of a Doubt: Ennui’s Disappearance in the Face of Disaster

|Dylan Hawthorn| Spoiler alert for Shadow of a Doubt. About ten minutes into Shadow of a Doubt, Charlotte “Charlie” Newton (Teresa Wright) lies in her bed, hands behind her head, staring at the ceiling. The camera had been relishing in the domestic bliss of her hometown… Continue reading

The Lady Vanishes: Exploring Hitchcock’s Recurring Themes of Spies, Suspense, and the Wrongly Accused

| Dan Howard | The Lady Vanishes plays at the Heights Theater on Thursday, April 4th. Visit for tickets and more information. For years, Alfred Hitchcock was simply a name and a face to me. Yes, he is one of the greatest directors of cinema, but his work had never resonated… Continue reading

Based on a True Story: Hitchcock Between Reality and Subjectivity

|Malcolm Cooke| At the start of The Wrong Man, a darkly silhouetted Alfred Hitchcock declares this film is different from all the ones he has made before: this story is true, and he intends to tell it with clinical accuracy. Hitchcock takes this task seriously, so seriously in fact that critic… Continue reading

Scoring the Past, Playing in the Present: A Tradition Continues with The Poor Nobodys & Alfred Hitchcock’s The Lodger at The Heights Theater

|Chris Polley| This was how it all began, really—music that’s performed, visuals that are projected, and never a word is uttered. Dating back to the first public presentation of the works of the Lumière brothers in Paris back in 1895, musical accompaniment to a film exhibition was performed… Continue reading

A Stitch In Time: Picking at the Seams of To Catch a Thief’s Costume Design

A color image of John Robie, a white, dark-haired man standing next to Frances Stevens, a white, blonde woman on a lawn.

|Courtney Kowalke| Does anyone who enjoys classic Hollywood films get sick of talking about Edith Head? I’m sure those people exist, but I’m not one of them. I’m actually a bigger fan of Head’s work styling Kim Novak in Vertigo, but if you want to discuss Head and Hitchcock, To Catch aContinue reading