If you've been following for long enough, you'll know that I have a great appreciation and devotion to Hitchcock's films. I could talk (or blog) for hours about the mastery that's evident in his movies and why his films make him the greatest director of all time. But as any good writer will tell you- it's better to show through subtle exposition of evidence than to tell openly. So I hope I have- I certainly tried! For me, the last month has been a fascinating journey into greater knowledge about what I knew and discovery of information I never even thought about. I'm glad that I'm able to share my knowledge with you!
Manderley: a house of dreams and nightmares. Also, of note, an excellent example of model work in classic cinema.
A brief description over the significance and importance of the DeWinter ancestor portrait that Joan Fontaine copies for her dress for the unfortunate Fancy Dress Ball.
The portrait of Lina's father, General McLaidlaw, carries much significance throughout the film.
The surrealist artist, Salvador Dali, designed a Freudian dream sequence for Hitchcock's film about psychoanalysis and murder.
In Rope, the apartment is tastefully decorated with paintings: a sure sign of an oily modern villain.
Strangers on a Train (1951)
Bruno's mother's paints a terrifying portrait of "St. Francis" very reminiscent to the work of one of Hitch's favorite artists, Georges Rouault.
Rear Window (1954)
In Rear Window, Miss Hearing Aid's Hunger sculpture serves a physical reminder of the hunger for true human connections felt by many of people in the apartment.
The Trouble with Harry (1955)
In The Trouble with Harry, an artist serves as a main character and his work (actually created by John Ferren) adds bold color and confusion to the screen.
Hitchcock's masterpiece, Vertigo, begins with an artistic opening title sequence with Bernard Herrmann's magnificent score and Saul Bass' swirling geometric designs.
In Vertigo, the Portrait of Carlotta serves as a physical reminder of the presence of Carlotta's ghost and also serves as a model for Madeline's unique fashion statements. This painting was also painted by John Ferren.
North by Northwest (1959)
Hitchcock's most commercial film featured a building evoking the designs of the famed architect Frank Lloyd Wright and introduces villains to modernism.
Hitchcock drew heavily upon the work of American realist painter Edward Hopper when he and the production team designed the lonely and terrifying Bates House.
The painting that hides Norman's peephole openly flaunts Norman's perverse inclinations and his potential to violence.