Woody Allen's Manhattan Murder Mystery has been described as "a kind of Rear Window for retirees." As this quote suggests, an analysis of Alfred Hitchcock's methodical use of comedy in his films is past due. One of Turner Classic Movies' on-screen scholars for their summer 2017 online Hitchcock class, the author grew tired of misleading throwaway references to the director's "comic relief." This book examines what should be obvious: Hitchcock systematically incorporated assorted types of comedy--black humor, parody, farce/screwball comedy and romantic comedy--in his films to entertain his audience with "comic" thrillers.

Susan Smith's treatment of the works of the most subtle of all film-makers analyses the key elements of suspense, humour and tone across the whole of the director's career. Arguing that all three are central to our viewing experience, the book demonstrates how Hitchcock's masterly integration of those elements is the key to his success as a film-maker. Examining in detail such films as Sabotage, Notorious, Rear Window, Psycho, Shadow of a Doubt, Rope and The Birds, amongst many others, the book discusses the idea of the director as saboteur and the importance of 'the avoidance of cliché' in Hitchcock's narrative.

Iconic, groundbreaking interviews of Alfred Hitchcock by film critic François Truffaut—providing insight into the cinematic method, the history of film, and one of the greatest directors of all time. In Hitchcock, film critic François Truffaut presents fifty hours of interviews with Alfred Hitchcock about the whole of his vast directorial career, from his silent movies in Great Britain to his color films in Hollywood. The result is a portrait of one of the greatest directors the world has ever known, an all-round specialist who masterminded everything, from the screenplay and the photography to the editing and the soundtrack. Hitchcock discusses the inspiration behind his films and the art of creating fear and suspense, as well as giving strikingly honest assessments of his achievements and failures, his doubts and hopes. This peek into the brain of one of cinema’s greats is a must-read for all film aficionados.

Throughout his career, Alfred Hitchcock had to contend with a wide variety of censors attuned to the slightest suggestion of sexual innuendo, undue violence, toilet humor, religious disrespect, and all forms of indecency, real or imagined. From 1934 to 1968, the Motion Picture Production Code Office controlled the content and final cut on all films made and distributed in the United States. During their review of Hitchcock's films, the censors demanded an average of 22.5 changes, ranging from the mundane to the mind-boggling, on each of his American films. In his award-winning Hitchcock and the Censors, author John Billheimer traces the forces that led to the Production Code and describes Hitchcock's interactions with code officials on a film-by-film basis as he fought to protect his creations, bargaining with code reviewers and sidestepping censorship to produce a lifetime of memorable films. Despite the often-arbitrary decisions of the code board, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming—and occasionally tricking—the censors, and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images. By examining Hitchcock's priorities in dealing with the censors, this work highlights the director's theories of suspense as well as his magician-like touch when negotiating with code officials.

"Hitchcock and Humor: a Study in Collaborative Authorship" presents three case studies that examine how Hitchcock's humor, a critical component of his touch, fluctuates and varies in accordance with his collaborators and his creative control. The first collaboration addressed involves Hitchcock's dealings with producer David O Selznick on both Rebecca (1940) and Spellbound (1945). By tracing each film through its initial treatments to its final screenplay, the each man's individual contribution comes to light and explains why Rebecca lacks the humor required for the full Hitchcock touch whereas Spellbound does provide comic moments. Under Selznick, Hitchcock first established a working relationship with actor Cary Grant. The two would continue to collaborate as the years went on and made four films together in all: Suspicion (1941), Notorious (1946), To Catch a Thief (1955), and North by Northwest (1959). In each subsequent film Hitchcock's methods of humor mesh more with Grant's screwball persona culminating in a Hitchcock classic full of funny moments. Along with Hitchcock's wit and Grant's physical comedy, North by Northwest owes a debt of gratitude to its screenwriter Ernest Lehman who created the original script simply out of sketches of characters and moments. The third case study examines the humor in Frenzy (1972). While Hitchcock's recent films had failed to reproduce the Hitchcock touch for an uncharacteristic lack of humor, Frenzy is laced with tongue-in-cheek action. The story was based on Arthur La Bern's novel Goodbye Piccadilly, Farewell Leicester Square (1972) and was adapted to the screen by playwright Anthony Shaffer to create what many call Hitchcock's return to form. These case studies reveal that the inclusion of humor in Hitchcock's films comes about when Hitchcock has the freedom away from the pressures of the studio and studio heads to assert his creative control with the collaborators and films of his choosing, preferably collaborators whose aesthetics compliment his own, and preferably films whose genre allows for generous tongue-in-cheek.

In his films, Alfred Hitchcock found the perfect expression for his fantasies, and he shared those fantasies with the world in such classics as The 39 Steps, The Lady Vanishes, Rebecca, Shadow of a Doubt, Notorious, Strangers on a Train, Rear Window, The Man Who Knew Too Much, To Catch a Thief, North by Northwest, Vertigo, Psycho, and The Birds. In It's Only a Movie, Charlotte Chandler draws from her extensive conversations with Hitchcock, frequently revealing unknown facts and unexpected insights into the man, the director, and his films. Author of acclaimed biographies of Groucho Marx, Federico Fellini, and Billy Wilder, Charlotte Chandler spent several years with Hitchcock discussing his life and his amazing career. She also talked with his wife, Alma, and daughter, Pat, as well as many of the screen legends who appeared in his films, including Cary Grant, Ingrid Bergman, James Stewart, Grace Kelly, Joan Fontaine, Laurence Olivier, Michael Redgrave, John Gielgud, Gregory Peck, Henry Fonda, Tippi Hedren, James Mason, Eva Marie Saint, Kim Novak, Anthony Perkins, Janet Leigh, and others. The result is an intimate yet expansive portrait of a unique artist who, from the 1920s through the 1970s, created many of history's most memorable films. A quarter-century after his death, Hitchcock's distinctive profile remains an instantly recognizable icon to millions, while his films continue to grow in popular appeal and critical esteem. Chandler introduces us to the real Hitchcock: a devoted family man, practical joker, and Englishman of Edwardian sensibilities who was one of the great masters of cinematic art.

Alfred Hitchcock: A Life in Darkness and Light is the definitive biography of the Master of Suspense and the most widely recognized film director of all time. In a career that spanned six decades and produced more than 60 films – including The 39 Steps, Vertigo, Psycho, and The Birds – Alfred Hitchcock set new standards for cinematic invention and storytelling. Acclaimed biographer Patrick McGilligan re-examines his life and extraordinary work, challenging perceptions of Hitchcock as the “macabre Englishman” and sexual obsessive, and reveals instead the ingenious craftsman, trickster, provocateur, and romantic. With insights into his relationships with Hollywood legends – such as Cary Grant, James Stewart, Ingrid Bergman, and Grace Kelly – as well as his 54-year marriage to Alma Reville and his inspirations in the thriller genre, the book is full of the same dark humor, cliffhanger suspense, and revelations that are synonymous with one of the most famous and misunderstood figures in cinema.