Who is AlfredHitchcock?

He is a famous suspense master and film director.

Chinese name: Alfred Hitchcock.

English name: Alfred Hitchcock.

Date of birth:1Aug.89913rd.

Date of death:1April 29, 980

Place of birth: London, England

Hitchcock 1899 was born on August 3rd, 2009, and was an ordinary family engaged in vegetable wholesale in London.

1920, entered the film industry. After working as a subtitle designer, production designer and editor, 1926, he directed his first suspense film Boarder (before that, he also directed two films, such as Happy Garden), which was well received and established his position in the British film industry.

The assassin's house (1934) and Thirty-nine Steps (1935) are very popular all over the world, which also makes Hitchcock famous internationally.

1938, Hershey's Balkan Express was also a success, which attracted the attention of Hollywood. At the beginning of World War II, Hitchcock went to America with his family and started his work in Hollywood.

1940, his first Hollywood work Butterfly Dream won the Oscar for Best Work. Later, he filmed the spy war drama Overseas Commissioner, the psychological suspense film Cliff, and the psychological analysis film Dr. Edward. 1946. During this period, he filmed the closing work "Honey trap", which was the last film starring Ingrid Bergman in Hitchcock. Her elopement with Rossellini gave Hitchcock a great blow.

In the early 1950s,1965-1Greece had been trying photography. Made a dial m for murder and other works. Among them, the masterpiece is Rear Window. Beginning with Back Window, in the late 1950s, Xi created a series of excellent works, such as Catch a Thief, Know Too Many People, Vertigo, North by Northwest and so on.

1960, Hitchcock challenged the new terror and made a mental illness that surprised the whole world. Strange themes, unexpected story development and low-budget black-and-white production make this film a milestone in Greek film career.

Subsequently, the bird in 1963 and Mani in 1964 were different new attempts, which created a new world of horror suspense movies. At that time, the directors of the French New Wave were more or less influenced by Hitchcock. We can all understand the works at that time, especially the dialogue between Trevor and Hitchcock.

1972, Mad Men, which premiered in London, let the audience see the brilliance of Hitchcock. This film is smooth and mellow, and it is a masterpiece of late Greece.

1On April 29th, 980, Hitchcock died, leaving us with 53 films.

Chronology of major works

-1976- family plot-family plot

-1972- frantic-crazy and fierce

-1969- topaz-topaz

-1967- Broken curtain-Broken curtain

-1964- Marni-Marni

-1963- birds, birds

-1960- Psychopathy

-1959- north-northwest-north-northwest

-1958- dizziness-dizziness

-1956- wronged person, wronged person

-1956- People who know too much know too much.

-1955- Harry's troubles, Harry's troubles

-1955- Stop thief-Stop thief

-1954- Rear window-Rear window

-1954- Please dial M for murder-Please dial M for murder.

-1953- I confess-I confess

Strangers on the train, train freaks

-1950- stage fright-stage fright

-1949- under Capricorn-under Capricorn

-1948- rope-rope

-1947- paladin case, paladin case

-1946- unknown-honey trap

-1945- fascinated-Dr. Edward

-1944- Adventures of Madagascar

-1944- bon voyage-bon voyage

-1944- lifeboat-lifeboat

-1943- the shadow of a doubt-ghost.

Destroyer. Destroyer.

-194 1- suspense-boudoir mystery

- 194 1-Mr & amp； Smith-Mrs Smith

-1940- foreign correspondents-overseas correspondents

-1940- Rebecca-Butterfly Dream

-1939- Jamaica Hotel-Jamaica Hotel

-1938- The lady is missing, that-that missing woman.

-1937- Young and ignorant-Young and ignorant

-1936- destruction-destruction

-1936- spy-agent

-1935- 39 steps-39 steps

-1934- Know too many people, home of assassins.

-1933- Vienna Waltz-Vienna Waltz

-1932- 17th-17

-1932- rich and strange-strange rich man

-193 1- skin game, scam

-1930- Elstree calling-Elstree's occupation

Juno and the Paycock

1930 Mary

-1930-murder! Tueur à gages

-1929- extortion-extortion

-1929-blackmail voice test-

-1929- manksman, monk

-1928- Champagne-Champagne

-1928- farmer's wife, farmer's wife.

-1927- easy virtue-frivolous virtue

-1927- downhill-downhill

-1927- ring, ring

-1926- Tenants, boarders

-1926- Shan Ying-Shan Ying

-1925- Happy Garden-Happy Garden

-1923- always tell your wife-always tell your wife.

-1922-No. 13- 13

Ten Key Words in Hitchcock's Movies

First, suspense

Hitchcock believes that terrible things not only lurk in the shadows or when we are alone, but sometimes when we are with normal and friendly people in broad daylight, we will feel very lonely, dangerous and isolated. In Hitchcock's mind, there is always a sense of inexplicable anxiety and a feeling of despair. When the movie "Destruction" was just released, Hitchcock specially added the subtitle "Be careful of someone behind" to show the fear in the subconscious. This potential fear was used as a suspense by Hitchcock.

Hitchcock has a famous example: two people walk into a room and sit down to chat. Suddenly, the bomb under the table exploded. -this process provided surprises to the audience. On the contrary, if, before they enter the house, the audience first sees a murderer enter the house and hides the bomb on the table, and then two people enter the house and no bomb is found, they still sit down and talk. Then the whole process is called suspense. So Hitchcock always tells the audience the answer in advance. The most famous thing is that in "Vertigo", the mystery that Judy and Madeleine are the same person was uncovered in the middle of the plot-it caused quite a controversy at that time, because this mystery was finally exposed in the original work. However, after telling the answer in advance, the audience naturally pointed their anxiety to the fate of the protagonist. Similarly, Despair and North by Northwest both reveal the truth in advance and then focus on the fate and choice of the innocent.

Hitchcock is best at using the extension of time and the closure of space to create a suspense atmosphere. In Psycho, Norman sank his car and deliberately parked it in the mire for one minute. In Despair, the female secretary went upstairs to look for the body, deliberately delaying the screams. Several scenes, such as Birds, Rushing out of the Iron Curtain, and North by Northwest, all use split shots, which gradually aggravate the suspense of hidden dangers. Sometimes Hitchcock's suspense results are beyond common sense, such as a boy being killed in Doomsday and a destroyer successfully blowing up a warship in Escape from the Cape-it is very rare to break the audience's expectations on the screen like this. .

Second, "McGovern"

This is the most unique vocabulary in Hitchcock's works. The word comes from his favorite story: on the train in Scotland, there was a curious man. When he saw the passenger next door holding a strange package, he asked what it was. The passenger replied, "Meg." "What is McGovern?" "It is used to catch lions in the Scottish Highlands." "But there are no lions in the Scottish Highlands." "Ah, there was no McGovern." It can be seen that McGovern is a non-existent or irrelevant thing, but it is the core of conversation, action and even the whole story.

Thirty-nine steps is the beginning of McGovern's spread. The whole film revolves around the "thirty-nine steps" of the spy organization, but there is no mention of the information stolen by this conspiracy organization and other industries. In the later masterpiece "North by Northwest", there is a typical "McGovern"-the intrigue called Kaplan does not exist at all. This concept is more or less used in all Hitchcock's films. His films always focus on a fictional character, such as the Avenger in The Tenant, Rebecca in Butterfly Dream, and Madeleine in ecstasy. Sometimes it takes advantage of vague events, such as murdering a salesman in the back window.

Third, the blonde complex

It is said that when Hitchcock was seven years old, there was a case of poisoning a blonde near his home. He always remembers it vividly, but he is not sure how much it will affect his film creation. But one thing is certain, he has a fixed and unique aesthetic taste for actresses, which makes Hitchcock girl a legendary term, which is far higher than the more famous Bond girl in any way. "Hitchcock girl" has a unified standard: glamorous, full of sense of humor, even the same body shape and psychological image-the mysterious temperament of cold appearance and warm heart, which is unpredictable, even the hairstyle hanging in the ear, and of course, the most important point-all blond! Moreover, these blondes hide their sexiness under the reserved appearance of ladies.

In Hitchcock's first truly silent film, The Tenant, Hitchcock's films were all blondes. First, the murderer killed eight blondes in a row, and the hero's sister was one of them, so he was deeply afraid of the portrait of the blonde hanging on the wall, but he had a admiration for the heroine who was also a blonde. Since then, Hitchcock has used this blonde as the number one female in almost every movie. The appearance of Tibby Heideren in The Thief is a classic. At the beginning of the film, I never saw her face, only her hair was black. When she went back to the hotel to wash her hair, we were surprised to find that the water had turned black, and she, the last stunner of Hitchcock, Tibby Hederen, showed her beautiful face and blond hair.

Fourth, the crime transfer law.

In The Tenant, he used the "crime transfer method" for the first time. Although the last tenant was innocent, the whole movie completely portrayed him as a strange and secretive murderer. Nevertheless, the audience still hoped that he would escape, and this emotion came entirely from Hitchcock's grasp of screen language. There are many "cases" like this, and Hitchcock's control over the audience's dark psychology is becoming more and more handy. At the end of honey trap, most of the audience sympathized with Sebastian who was about to be murdered by his partner, even though he poisoned the beautiful Bergman. In Psycho, when Norman sank his car into the river, Hitchcock deliberately stopped the car for a while, which made the audience really worried about him. The most outrageous thing is that in Despair, the audience almost unanimously hoped that Roske, a psychopathic murderer, would find the lost evidence.

At the same time of "the transfer of sin", Hitchcock often deliberately shaped the anti-horn into a personable and humorous anti-horn. Fisher in Overseas Commissioner is a pacifist. At first, we sympathized with him. Later, we found out that he was a villain, but we still sympathized with him. In The Spy Doomsday, Hitchcock even made the German spy cuter than our hero.

V. Stairs and shadows

How to use pictures to create suspense and tension is what Hitchcock is best at, and "stairs" and "shadows" are the elements he often calls. Hitchcock learned a lot from German expressionism when filming The Tenant, including their idea that when the characters go up the stairs and gradually enter the darkness, the audience will fall into fear. Therefore, when the protagonist in The Tenant walks down the stairs in the middle of the night with white gloves, it looks eerie, but Hitchcock actually just aims at the gloves that slowly slide down the handrail of the stairs. There are many such examples. A famous example is blackmail. When Alice and Crowe went upstairs together, the ominous shadow left on the stairwell wall predicted the tragedy. The three most famous stair shots appear in ecstasy, birds and despair. In ecstasy, the spiral staircase of the church tower is extremely high and dazzling. The attic stairs in Birds are full of fatal attraction; In Despair, when Branny goes to Roscoe's house for revenge in the middle of the night, the close-up of repeatedly switching up the stairs is almost suffocating-because you can't understand what will happen.

Six, peek

One aspect of Hitchcock's films is that people tend to peep, or shoot from the perspective of peeping. In the past, we might regard voyeurism and voyeurism as mental disorders. As Grace Kelly said in the Back Window, voyeurism is punishable. In Hitchcock's films, events are often reflected from the perspective of voyeurs, and they enter their world with the mood of voyeurs.

The Back Window is the most extreme work in Hitchcock's films that uses the theme of "voyeurism". He obviously thinks that every normal person has a desire to peep into other people's privacy. From the beginning, the film puts the audience in the perspective of a voyeur. Because of Jeff's leg injury, he can only sit at home every day, looking at every house opposite his house through the window, and the camera sweeps through the neighbor's window opposite Jeffrey's house. From this point of view, peeping at other people's privacy is not an entertainment for some rigid and timid people, but many normal people will have such a watching mood.

In Psycho, the first scene of the film rolls through a lifeless panoramic view of the city on a hot afternoon, and then slowly pushes a half-closed window, and our eyes sneak into a hotel. Marianne lay half-naked in bed in a bra, looking at the hero without a shirt. The hero turned his back on the audience, and they fell in love like no one's watching. Hitchcock gave us the lust between men and women without reservation, and also let us. Later, at Bates Motel, Norman Bates peeped at marion, who was changing clothes, and quietly expressed her naked desire-even this desire was owned by the audience.

Seven, clue props

Props are essential when using the plot to create suspense. Hitchcock often uses props in movies to make the characters in the movies "suddenly realize" or "surprise" and aggravate the tension. Even more vague are the distant "R" pattern in Butterfly Dream and the notes in People Who Know Too Much (Hitchcock even pointed the camera at the staff to strengthen the situation). Sometimes, Hitchcock will use close-ups of objects to hint at the core scenes of the film, such as the wine bottle in the honey trap. As early as the opening reception, Hitchcock had already laid the groundwork for the thrilling scene in the wine cellar with pictures. The same is true for birds, and the opening ceremony is arranged in the bird shop.

Rope is the most classic film using Taoist thought. The rope in the film is a tool to kill David, and it is also used by the murderer to bind books and give them to David's parents for the purpose of seeking excitement. Rope is an important prop, but it also contains profound meaning-twisted psychology binds knowledge and morality. Hitchcock's credits are also twisted into a rope. Similarly, the subtitles of "Despair" are also designed as striped ties-that is also the tool used to kill people in the film, and the pervert killer Roscoe kills people with ties; Ties similar to those of the protagonist Branny are used to mislead the audience; Officer Osford's tie is actually the same, deeply equating their unsatisfied desires. Of course, there is also the most important clue prop in Black Boy-Roske's brooch for picking teeth. The camera patiently explained Roske's habit from the beginning, and finally this prop triggered the climax of the film.

Other famous Taoist sayings include: Alice's gloves in Blackmail, Uncle Charlie's ring in Doubtful Voices, Haines' lighter in Stranger on the Train, stockings and keys in Dial M Murder-all of which have played a subtle role in promoting the development of the plot.

Eight, the marriage crisis

Hitchcock's own marriage seems to be indisputably happy, but all the marriages in his works are shrouded in shadows. In 1932' s work Strange Rich Man, he began to satirize marriage in an all-round way. In Destruction, Willock and his wife don't even know each other and have no feelings. In the end, the knife that the wife stabbed her husband to death not only avenged her brother, but also resisted her marriage. In Butterfly Dream, the relationship between Reed Winter and Rebecca is described in horror, and there is only a thin line between love and hate, which casts a shadow over the marriage of derwent and his second wife. In The Mystery of the Boudoir, the marriage between Joan Fontaine and gary grant started from fraud and gradually escalated to the point where the wife suspected that her husband was going to poison herself. In the Palatine case, dial M for murder, back window and ecstasy, and the murder between husband and wife became a reality. In Stranger on the Train, Haines actually borrowed Bruno's hand to get rid of his wife.

Hitchcock-style marriage seems to be full of secrets or misfortunes, and so are the marital situations in Honey trap, Confession and Thief. In the case of paladin, Hitchcock used two clues to show his point that marriage is fragile. The seemingly beautiful marriage between Anthony's lawyer and his wife broke down at an incredible speed after Mrs. Palatini appeared. Because of the unfortunate marriage, Mrs. Palatini killed her husband. In Harry's predicament, Jenny was in high spirits when she heard her husband's death. Henry fonda's marriage in Revenge is the most faithful in Hitchcock's films. During the period when her husband was suspected to be guilty, his wife always supported him, showing the most touching family scene-but even so, the pressure of life eventually made his wife collapse and blame herself. Hitchcock used this to prove that no couple is happy, just as he said in The Farmer's Wife: Marriage is like a steam roller, crushing men's hopes and women's happiness.

Nine, black humor

Hitchcock's humor is exactly a kind of "cruel humor". The cruelest one appeared in the magnetic field, and Roske was struggling with a dead body in a potato pile. At first, he was kicked by a dead body, and then the knife used to pry open the dead body's finger broke-this set of shots can actually make you feel creepy and can't help laughing.

There is also a funny scene among the birds, which happened after the attack on the primary school. After the terrible escape, Melanie came to the bar in town, but no one believed her. Everyone is still laughing loudly when the disaster comes. In fact, long before Melanie came to this seaside town, it was ridiculous that she was swinging around with two love birds in the car, but who would have expected that the birds would launch a terrible attack soon.

X. sexual assault

Seeing Hitchcock's movies seems to have nothing to do with the word "sexual abuse", but if you look at how he handles the self-righteous blonde in his works, you will find that there is a highly repressed desire under his harmonious and calm mind. The female politician in Thirty-nine Steps and the female model in The Cape Escape are dragged around by murderers, but they are all dressed in fashion without losing their dignity.

With almost one exception, both male and female protagonists in Hitchcock's works tend to be sadistic and masochistic. Mark and Marnie are the most typical and obvious couple in The Thief. Marni was masochistic for life because he killed a sailor's client by mistake. But Mark has a strong desire to conquer and possess this female thief.

In "The Tenant", the beautiful young Daisy is attracted by the tenant, and he is the suspect in an extremely horrible serial murder case. From then on, Hitchcock's blondes never tired of dangerous people. In Doctor Edward, ingrid bergman loves gregory peck not only because of his handsome appearance, but also because of his deep psychological desire for danger (abuse), just like in Birds, Tibby Hedren will go to a dangerous attic for no reason.

When you carefully watch Hitchcock's works, you will find that the control of the hero over the heroine and the submission of the heroine to the hero are very obvious, which is the most basic manifestation of sadism and abuse.