Alfred Hitchcock: Master of Suspense and Psychological Thrillers

Alfred Hitchcock, born in 1899 in England, remains a prominent figure in the film industry. His passion for cinema began early on as he wrote title cards for silent films before transitioning to directing. Influenced by his Catholic upbringing, Hitchcock often explored themes of guilt and sin in his films (Kehoe N. P.). He was a leading director in the 1930s, establishing an international benchmark for suspense with his legendary thrillers.

Alfred Hitchcock is renowned for his skill in creating tension and his distinct approach to filmmaking, establishing him as a highly esteemed and well-liked director (Flint N.

P.). Among his notable works are Vertigo (1958), Psycho (1960), and The Birds (1963). Vertigo (1958) is particularly noteworthy for its examination of human character through the character John "Scottie" Ferguson, a retired detective grappling with vertigo and hopelessness (Sterritt 113).

Scottie, a private investigator, is tasked with monitoring Madeleine Elster, who displays unusual behavior. The movie "Vertigo" explores deep emotions and dark feelings. Hitchcock uses the "fade to black" method to intensify the emotionally charged moments in a dramatic way, emphasizing the dreamy quality that defines "Vertigo" (Sterritt 92).

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Vertigo is strongly linked to madness, as French social theorist Michel Foucault argues that it signifies a delusional belief that the world is spinning, which he considers a key aspect of madness (Sterritt 98). The recurring image of Scottie staring into an abyss reinforces the unique and creative nature of Vertigo (Sterritt 82), visually representing the extreme dizziness and disorientation experienced by the character.

Hitchcock revolutionized the approach to point of view by showing the audience the world "through Scottie's eyes" (Sterritt 83).

The conclusion of Vertigo stands out for its portrayal of a neurotic hero, a departure from mainstream cinema norms at the time (Sterritt 92). In Psycho (1960), Hitchcock pushed the boundaries of acceptability in American films by featuring violence, deviant behavior, and sexuality (Flint N. P.). The main character, Marion Crane, finds herself at a secluded motel after stealing money from her boss and encountering the disturbed owner, Norman Bates.

According to Baer N. P., Hitchcock explained that the beginning of Psycho is meant to distract the audience to intensify the murder. The film explores the theme of voyeurism, where individuals spy on others engaging in intimate behaviors. Critics believe that Psycho not only portrays a general sense of voyeurism but also criticizes voyeurism among audiences, known as "Peeping Tom audiences," as described by Hitchcock. The film manipulates viewers by having them support a thief, Marion Crane, which creates a personal connection between the audience and the character's guilt.

According to Hollywood film writer Joseph Stefano, watching films can be voyeuristic as we delve deeply into characters' lives in the darkness, which may or may not involve a sexual component but certainly captivates us with the characters. Additionally, Alfred Hitchcock adds a new narrative dimension in Psycho by making a personal appearance in the film, symbolizing his control over the film and reinforcing the theme of voyeurism.

Hitchcock believed that the actors' performances were integral to human identity, with Norman's portrayal in Psycho being particularly impactful. Norman fully embodies his character by adopting her voice, appearance, movements, and thoughts. Hitchcock effectively showcases Norman's performances through his incorporation of window/curtain imagery. These elements symbolize a sense of privacy for the audience, creating a unique connection between the character and the viewers. This distancing technique creates both a feeling of alienation and intimacy, enhancing the overall viewing experience.

Alfred Hitchcock's The Birds (1963) is considered his most radical film because it does not offer a return to normalcy for the audience (Sterritt 121). Hitchcock stated that the film explores people's disregard for the potential danger of nature turning against them (Abrash 153). Set in Bodega Bay, California, the movie depicts a sudden and intense series of bird attacks. The Birds serves as a continuation of Hitchcock's exploration of psychological boundaries following Psycho.

The film not only shows the irrational but also embodies it by blending real and fantastic elements without natural causes. Hitchcock breaks classical cinematic storytelling rules in The Birds to bring to life the fears hidden in our subconscious (Sterritt 121). By lacking a traditional ending, the film showcases Hitchcock's despair over the characters' power dynamics. The protagonists stay in peril, the antagonists grow stronger, and the characters' emotional ties remain unresolved.

The characters in the resulting visual strive for a better world, as noted by Sterritt (124). Film critic Robin Wood believes The Birds symbolizes life's unpredictability and serves as a reminder of fragility and instability that cannot be ignored or evaded, as well as the possibility that life may be meaningless and absurd (Abrash 154). Through a skillful combination of the ordinary and the bizarre, Alfred Hitchcock is recognized as one of the most skilled manipulators of emotions in film history.

Alfred Hitchcock was renowned for his careful construction of tense situations in his films, which often included dangerous chases, moments of humor, and unexpected plot developments. His preference for visual storytelling over excessive dialogue set him apart in the film industry. In recognition of his accomplishments, he received the Irving G. Thalberg Memorial Award from the Academy of Motion Picture Arts and Sciences in 1967. Hitchcock once famously said, "some films are slices of life, mine are slices of cake" (Flint N.P.).