Alfred HitchcockEssay Preview: Alfred HitchcockReport this essayFilms were a great form of entertainment from their debut in the early 1900s and continued to grow more popular over the years. The film making business hit a growth period in the 1920s. In Hollywood, the assembly line “studio” system of producing a movie was changed and refined, and the famous studious that dominate Hollywood production today, such as Universal Studious, were being put together. Censorship regulations were being formulated for the first time, and Wall Street began to take a more prominent, powerful role in film making. It was the era of short silent films that were backed by organists who could play a variety of famous composers such as Beethoven, and Sousa, and who mastered other sound affects for further enhancement of the movie. It was a time when movies came and went quickly and films that had no pretense of being art were made in mass. Nobody ever expected a movie to have an afterlife. They were made only for entertainment and to make money, and were considered disposable back then. It took decades to develop movies as a concept of art. During this time of rapid change in the film making business, a certain aspiring director began his dream of working with cinema. Eventually, the talented and mysterious director, Alfred Hitchcock, played a huge part in establishing his and others masterpieces as an art.
Born on August 13th, 1899, in London, England, Hitchcocks childhood was that of a lower class Roman Catholic child who attended church regularly. His parents were greengrocers, William and Emma Hitchcock. A strict man, William once told a five year old Albert to go to the police station with a note from his father after some mischief making. Upon reading the note, a sergeant put young Alfred in a cell and left him there for ten minutes. The policeman returned only to tell him, “This is what happens to naughty boys.” This story and Hitchcocks Roman Catholic background encompassed all the themes Hitchcock would later put in is his work such as terror inflicted upon the unknowing, and sometimes innocent victim; guilt, both real and the appearance of it; and fear and redemption. He grew up with his older siblings, William and Ellen Kathleen in Leytonstone, part of Londons East End. Fascinated by numbers and technology, Hitchcock was educated at the Jesuits St. Ignatius College, a day school for boys. He loved maps and times tables. He is said to have memorized the schedules of the English train lines. Most of his adolescence was spent working to help support his family. He left school at 16 though to study engineering and navigation at the University of London. Three years later, in 1914 when his dad died, he started work as a technical estimator at Henley Telegraph and Cable Company specializing in electric cables. He soon began to study art, economics, drawing, history and painting in the evenings. When his employers discovered he was taking art courses he was switched to the advertising department. There, he began to draw, designing ads for electric cables.
Hitchcock was drawn to the silver screen. He read every technical film magazine he could. He was fascinated bye the mystery fiction of Edgar Allan Poe and spent much time at the local cinema. American and German films particularly appealed to him. After learning that Famous Players Lasky, now Paramount, was opening a studio in London, he submitted a portfolio of his work. He was hired as a title designer for silent films. His passion for films and eagerness to learn led him to apply for the job of Assistant Director. This gave him the experience of film making from every angle.
At age 22, in1922, he started work on his directorial debut, the film Number 13. Although the two reeler was never completed, during production Hitchcock met his future wife Alma Reville, who also worked for the company. They were married in December of 1926 at Brompton Oratory. Alma had a good sense to detail and would go on to collaborate on all of Hitchcocks projects including one of his own favorite, Psycho. She oversaw initial script development through final post-production. It is said that it was Alma who noticed Janet Leighs dead body twitch in Psycho which was immediately corrected. In 1928, their daughter Patricia was born. She later appeared in three of her fathers films including the previously mentioned Psycho.
Because Number 13 was never completed, the first film to bear the mark “Directed by Alfred Hitchcock” was The Pleasure Garden in 1925. A young Alfreds uncanny wit and cinematic flare came forth in this movie. The year after, in 1926, The Mountain Eagle was released as Fear O God. Hitchcock hated this film, and called it “very bad.” In fact, no existence of this film is to be found.
Film number three, The Lodger, is the one that most people consider to be his first authentic film. It also marked his first cameo appearance, which later became a trademark of his films. The theme of the film is simple; a man wrongly accused of a crime. The moral ambiguity that frames the film gives it its true Hitchcock style. Its great success launched his career in England and he soon became the most successful and highest-paid director in England eventually directing six more feature length silent films. With each of these films, his natural talent grew more and more.
As the film industry began introducing sound to the cinema, Hitchcock continued to progress with the times. In 1929, Hitchcocks Blackmail made history by becoming the first British “talkie.” Although the film originally begun as a silent one, Hitchcock immediately re-shot certain portions of it after he learned of the ability of sound. In 1930, Hitchcock released two films, Juno, and the Paycock, and Murder. Audiences loved these films. Murder is one of the more interesting and daring “who-dun-its.” The plot, as in previous Hitchcock films, involves a woman wrongly accused of murdering her friend. The real murderer turns out to be a transvestite circus performer. Many following films continue in this ones bold nature. Immediately following Murder was The Skin Game in 1931. Hitchcock did not make this one by choice and showed very little affection for it. Rich and Strange, an original script by his
” was published in 1932. After the first two film’s were released, Hitchcock was never allowed to continue with his Psycho and it took two years before the sequel, a movie he made in 1927. The difference was that instead of being for his own ends, the sequel was for the film industry’s, which has helped establish the basis of many new films in the industry’s history.** As Hitchcock’s Psycho continues, the original original plot has more of a structure. The most common form is “in” with some minor character changes, such as the character’s age or gender in the story. Hitchcock made a second film, his No.22, in 1933, in which the character was made a woman and there, she is put on the spot with an adult male in an attempt to figure out the identity of the child they will be adopted by. However, if you look at one of the many horror movies made in 1939, you will see a very different film. In this, the protagonist’s love interest, Miss Tilly, and her brother, Michael, are forced to marry because, after the divorce, they get custody of two young children, one of them named Gennifer. A few years later, Miss Tilly was taken from her adoptive home, the house where Michael grew up. Michael’s father in law is the chief and father of George. The couple is separated and George, her daughter’s best friend in Law, does best with Michael and his wife. A couple of years later, after Michael’s father dies trying to save his marriage to her two daughters, George hires his old mother at the estate, the widow of the deceased George and the mother of his new wife, Jane. This is the same mother who married Michael’s father on the spot, who is in the business of marrying to her first child. By working for his new wife, he gets Michael’s attention, and the children attend their grandmother. When he is around that time, he tells Jane, her son, that he will marry her, on the promise of keeping Michael and his wife in prison. She asks him to stay in prison for an hour or so and, as she tells the story, she thought of her first child, but suddenly had a dream where her two other children, Jane and George, come running from their house. Suddenly the kids are running on the street. Jane appears to be on the edge of breaking into the house and runs as much as she can. She finds George lying in the driveway and is thrown over a railing onto the lawn. George’s legs go through her and he is carried over the fence. She finds the baby and is forced to get up and kneel before the baby, and George is carried through a back door. Finally, she wakes up George who in his sleep gets up and calls for someone to do whatever she does. As George gets up from the grass, she sees George’s face and realizes that he is Michael’s. In an instant, she thinks of her children and her grief for having to marry her. She tells George to make it really easy for her that way. She has done all she can, and to stay home, because that would be her next dream. When George is about to leave she realizes that his daughter is Michael. So she goes to Michael and she gets him in a room and she finds out that he is his father’s wife now, and he was never his father. He is a very old old man, with nothing more than a pair of glasses. He is in prison as an adult. So she goes to make him