Hitchcock and the Methods of Suspense, by William Hare
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Hitchcock and the Methods of Suspense, by William Hare
Best Ebook PDF Online Hitchcock and the Methods of Suspense, by William Hare
An analysis of the inner workings of Alfred Hitchcock's innovative mind and how astutely he tapped into the public consciousness in appealing to the public's imagination with classic works such as REBECCA, SHADOW OF A DOUBT, THE BIRDS and PSYCHO.
Hitchcock and the Methods of Suspense, by William Hare- Amazon Sales Rank: #783398 in eBooks
- Published on: 2015-05-23
- Released on: 2015-05-23
- Format: Kindle eBook
About the Author Movie historian and writer William Hare is a contributor to Films of the Golden Age. He is also the author of L.A. Noir: Nine Dark Visions of the City of Angels (2004) and Early Film Noir: Greed, Lust and Murder Hollywood Style (2003). He lives in Seattle, Washington.
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6 of 6 people found the following review helpful. Insightful and Compelling Study of One of the Greatest Filmmakers By Tom Reynolds To dedicated film buffs and even the most casual movie-goer alike, the name "Hitchcock" alone is enough to trigger images in the mind's eye associated with mystery and suspense, even terror, that are instantly and automatically recalled: Thornhill (Cary Grant) in "North by Northwest," running through an open field while an airplane swoops down on him; the vulnerable Lisa Fremont (Grace Kelly) in "Rear Window," searching Thorwald's (Raymond Burr) apartment, unaware of his imminent return, while wheelchair bound L.B. Jefferies (James Stewart) can do nothing but watch helplessly from his apartment across the way; Jo McKenna (Doris Day) in "The Man Who Knew Too Much," screaming at a pivotal point, just as a would-be assassin levels his gun at his intended target in a box at London's Albert Hall; and, of course, one of the most famous single scenes in film history, Marion Crane (Janet Leigh) in "Psycho," screaming in terror as the knife-wielding Norman Bates (Anthony Perkins) invades her ill-fated shower. But what is it that makes these scenes and films so memorable, even if it was a movie you saw only once, as a kid, in a dark theater on a Saturday afternoon? The answer to that question, and much, much more, can be found in "Hitchcock and the Methods of Suspense," the new book by writer and film historian William Hare.When it comes to cinema, Hare is a bona fide expert; simply put, he knows his stuff and it shows every page of this book. Most importantly, by fully utilizing the knowledge and expertise he's acquired through a lifetime of study and love of films, Hare presents here an engrossing examination of the methods, devices and themes repeatedly employed by Hitchcock, and which ultimately have made his films so memorable. From reading this book, it becomes evident that it is not by accident that, once viewed, the scenes and movies such as those mentioned above are subject to instant recall, even years later.For his study of Hitchcock, Hare has chosen fifteen of the Master's most famous films, which he places under a metaphorical microscope for thorough examination. He explores Hitchcock's use of what the filmmaker called "The MacGuffin,"which, simply put, is a device used to move the story along, but in and of itself is neither relevant nor important. In "The 39 Steps," for example, the MacGuffin is a secret formula with specifications for a new kind of fighter plane that may or may not have fallen into the hands of the enemy. In "Rebecca," Hitchcock's first American film, the MacGuffin is the mystery surrounding someone who is no longer living and, more importantly, is never seen in the film, even in flashbacks.According to Hare, another device used by Hitchcock is the introduction of what he calls "The cool blonde" into the story, the first of which was Madeleine Carroll in "The 39 Steps," the film, which Hare notes, established Hitchcock as a rising star within the filmmaking community. Subsequent films would feature "cool blondes" such as Eva Marie Saint, Tippi Hedren, Kim Novak and, of course, the exquisite Grace Kelly.Hare also examines the various aspects of "duality" employed by Hitchcock in his films- Uncle Charlie (played by Joseph Cotton) and his niece, Charlie (Teresa Wright), in "Shadow of a Doubt," for example- as well as the psychological facets of Hitchcock's stories and characters; elements he used repeatedly to infuse his tales with mystery and suspense.The author demonstrates, too, how the camera was such an integral part of the way Hitchcock worked. The filmmaker saw the camera, in fact, as paramount in bringing his visions to fruition. His understanding of the camera and the ways in which it's all-seeing eye could be used to optimum effect reflected yet another side of Hitchcock's genius.Another factor of Hitchcock's success explored by Hare is the integration of the romantic element into his films and, moreover, the careful casting of the of the actors that would make up these memorable onscreen couplings: Robert Donat and Madeleine Carroll in "The 39 Steps"; Laurence Olivier and Joan Fontaine in "Rebecca"; Gregory Peck and Ingrid Bergman in "Spellbound"; Cary Grant and Grace Kelly in "To Catch a Thief"; Grant and Bergman in "Notorious"; and James Stewart and Kim Novak in "Vertigo," just to mention a few.In addition to the discussion of the filmmaker and his films, Hare also includes some interesting and entertaining anecdotes culled from Hitchcock's private life, which provide significant insights into the personal perspectives and peccadillos of the man himself, all of which became integral to much of what ultimately went into his films: The fact that he was a devoted family man, for instance, and that one of his most famous female story collaborators was his own wife, Alma. The influence of his Catholic upbringing and his paranoia of open spaces are two more examples of the ingredients that went into the Hitchcock recipe for mystery and suspense.Especially compelling is Hare's account of Hitchcock's stormy relationship with producer David O. Selznick, the very man responsible for bringing Hitch to Hollywood from England in the first place. How these two artists, each with their own individual perspective and vision of the same project clashed, beginning with their initial collaboration, "Rebecca," makes for a fascinating read.Hare's facility with words, the poetic rhythm of his prose and the thorough knowledge of his subject has produced a book that is not only informative, but highly entertaining. Like Hare's previous books on film noir, "Early Film Noir: Greed, Lust and Murder Hollywood Style," and "L.A. Noir: Nine Dark Visions of the City of Angels," "Hitchcock and the Methods of Suspense" brings a greater appreciation to the memorable films herein discussed, as well as the artists involved in their making. These are films which lend themselves to repeated viewings, and the background and insights provided here by William Hare serves to further enrich those addition viewings, making them an even more memorable and enjoyable experience.
4 of 4 people found the following review helpful. "Hitchcock was a director of meticulous contrasts" By Folantin As a film lover fascinated by auteur theory, I decided that I'd overlooked film director Alfred Hitchcock for far too long, and so I approached William Hare's book, "Hitchcock and the Methods of Suspense" with eagerness. Obviously a labour of love for the author, the book traces Hitchcock's phenomenal career with an emphasis on the films and Hitchcock's techniques. This book is not a biography of Hitchcock--although there are plenty of details about Hitchcock's life--but these details are secondary to the in-depth analysis of many of Hitchcock's greatest films.The book begins with identifying the director's "breakthrough" film--"The 39 Steps"--and it was this film, the author argues that ensured Hitchcock would remain "emerge and remain a major film talent." Hitchcock was a man who was "ahead of [his] time and place" and this, Hare argues, caused creative difficulties for Hitchcock. Already by 1925, Hitchcock managed to ruffle the feathers of C.M. Woolf, an influential financier, and Woolf's early displeasure at Hitchcock's film, "The Pleasure Garden" led to Woolf becoming an "obstacle" to Hitchcock's career. This is later echoed in the troubled relationship between Hitchcock and David O. Selznick.The book explores Hitchcock's British and American phases--along with his favourite themes--"the innocent thrown into a sea of international political conflict" the use of voyeurism, the MacGuffin, and the individual against the forces of nature (influenced by Hitchcock's own paranoia of open places).If you are a Hitchcock aficionado or if you just want to learn more about the film career of this phenomenal director, then "Hitchcock and the Methods of Suspense" is a feast. Exploring the films in detail, the book captures Hitchcock's creative genius and reveals a deep appreciation of the director's unique, intuitive, and ultimately shrewd approach to understanding the art of film, his uncanny ability to select new talent, and exactly how Hitchcock connected with the psyche of his audience. The book includes many black and white photographs, a bibliography and an index--always appreciated by this reader--and I've no doubt that I'll refer to the wealth of information here as I watch--and re-watch--Hitchcock--including my own personal favourite--"Strangers on a Train"--displacedhuman
1 of 1 people found the following review helpful. GREAT BOOK ABOUT THE 'MASTER OF SUSPENSE' By Toby Martin II (aka R. Howe) I've read more than thirty books about the 'master of suspense' and his memorable film career... this is one of the best accounts I've experienced about this famed director!
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