Product Description

The classic, Edgar Award-winning biography, published to celebrate the centenary of Hitchcock's birth with a new introduction by the author.

This is the definitive life story of Alfred Hitchcock, the enigmatic and intensely private director of Psycho, Vertigo, Rear Window, The Birds, and more than forty other films. While setting forth every stage of Hitchcock's long life and brilliant career, Donald Spoto also explores the roots of the director's obsessions with blondes, food, murder, and idealized love-and he traces the incomparable, bizarre genius from Hitchcock's English childhood through the golden years of his career in America as one of the greatest directors in the history of filmmaking.

"Absolutely compulsory reading." -The New York Times Book Review

"A real page-turner, and as complete a picture as we are likely to get." -Variety

"The finest book about a filmmaker yet. Sensational in its revelations; at the same time, a biography of unassailable integrity. I could not put it down." -Gregory Peck

Product Details

• Amazon Sales Rank: #354138 in Books
• Published on: 1999-08-29
• Original language: English
• Number of items: 1
• Binding: Paperback
• 508 pages

Features

• ISBN13: 9780306809323
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

From Library Journal
Spoto's 1983 biography is being reproduced in honor of the famous director's centennial. The book was well received at the time of its publication, even managing to snag an Edgar Award. For this anniversary edition, Spoto has added a new introduction. The text is buttressed with numerous photographs and a detailed filmography.
Copyright 1999 Reed Business Information, Inc.

About the Author
Donald Spoto is the author of nineteen books, including best-selling biographies of Tennessee Williams, Ingrid Bergman, Laurence Olivier, Marilyn Monroe, and Marlene Dietrich. He holds a doctorate in theological literature from Fordham University and has taught a wide variety of subjects in the United States and abroad. He lives in Los Angeles.

Customer Reviews

The Man Who Knew Too Little
Spoto has done an admirable job at putting together 500 compelling pages of reading. Unfortunately, he mentions the fundamental problem with this book in the very preface...that Hitchcock left few records and let his guard down for few individuals. The Hitchcock most knew was no more personal than what we know from his television persona. So right away, we have a biography that doesn't have much basis. So Spoto tries to compensate by drawing conclusions about Hitchcock based on his films. Kind of silly, really. Spotos analysis of the films could be interesting, but it's very uneven...he'll spend 10 pages on one film, and barely mention the existence of another. And the only revealing passage on anything regarding Hitchcock's life itself is on his Tippi Hedren years.

However, my chief problem with The Dark Side of Genius is Spoto's tendency to excuse Hitchcock when convenient. It's ridiculously facile. EVERY time Spoto reached an unsuccessful Hitchcock film, he explains how Hitchcock was preoccupied, depressed, or altogether uninterested in the that film. Can't we allow that a genius is fallible? His classics were the product of passion; his failures were due do lack of interest. That's way too black and white a stance for any serious biographer or film scholar to promote. He never allows that Hitchcock tried and failed at times. To Spoto, when he failed, it's because he didn't care.

A fascinating insight into the enigma
"Some of our most exquisite murders have been domestic, performed with tenderness in simple, homey places like the kitchen table."

...and here is the Master of Suspense. While Hitchcock happens to be one of the better-known directors of the 20th century, he surely is the only master of enigma. Spoto has done an admirable job in depicting the life of a man always shrouded in mystery.

The book follows Hitch from his childhood. A rather unattractive mother's boy, he was an outcast at public school. It continues his story from humble beginnings, through the discovery of genius, and ends at his death in 1980, at the age of 81. Throughout the pages, Spoto covers Hitchcock's life in detail, including his many quirks, obsessions bizarre sense of humour.

Hitchcock's life was indeed bizarre - his personality and obsessions manifesting themselves in his over-eating and his dry, often macabre sense of humour. However, as the author rightly points out, the director also revealed this side of himself through the images of his movies. This makes a fascinating study once you have read the book and you'll never view Hitch's films at face value again.

Because of her desire to protect her father's privacy, Hitch's daughter, Pat, refused Spoto any assistance in the writing of this book. He went instead to a veritable legion of actors and screenwriters who knew him and worked with him. The result is an extremely revealing and often very dark portrait of a man whose character was as shadowed as his films.

But not all is dark and foreboding. There are several amusing anecdotes, which highlight Hitch's macabre sense of humour. Like the time he had a dummy made in his own likeness and sent it floating on its back down the Thames river as a publicity stunt for his movie "Frenzy" in 1972.

My own personal favourite is the story of a woman who accosted him and complained that the "Psycho" shower scene so frightened her daughter that the girl would no longer shower. His laconic reply was, "Then, Madam, I suggest you have her dry cleaned."

He also did not suffer actors gladly. While he did have his stable of favourites that he worked with, he once claimed that actors were cattle. Later he said, "I didn't say that actors are cattle - I said they should be treated as cattle." Another story says that when an actress asked Hitchcock if her right or left profile was better, he told her, "My dear, you're sitting on your best profile."

Some of Spoto's claims I can't help but treat with a little scepticism. I do know that Hitch had a fascination with murder but the tender way in which he presents it in his films is classic Hitchcock. However, the author's statement that scenes in Hitch's movies reflect kind of voyeurism, I feel that with his trademark camera pans through windows, the director was trying to give the audience a bird's eye view of the scene - no more and no less. It is his way of allowing us to enter the private lives of his characters.

When all is said and done, this is a fascinating book of a fascinating man. A genius in his own time, but also a frustrated enigma, with a taste for the truly macabre. I highly recommend this book to anyone remotely interested in learning about the man behind the mystery, although it is a little heavy at times.

I'll leave the last word to the Master of Suspense himself:

"Television has brought back murder into the home - where it belongs.

Portrait of the Artist as a Dog
Spoto's life of Hitchcock, originally published in 1983, is one of the best biographies of a film director we have in English. It's a warts and all portrait, but instead of pitying or disliking Hitchcock for his idiosyncrasies and meannesses, we come to admire him even more for his singular dedication to the art of movies (and he was an artist, not merely "the master of suspense", to use an essentially narrow and insulting characterization). And as far as sheer technique goes, sheer mastery of the medium, Hitchcock probably was/is unsurpassed among modern day filmmakers.

Spoto gives us detailed accounts of the making of each of Hitchcock's major films. He really did dislike actors, calling them cattle, but he of course had a fascination with blonde actresses. The book's most poignant segment is the episode invovling Hitchcock's infatuation with Tippi Hedren (a mediocre performer at best who should have been grateful for a great man's attention and adoration), which ultimately ended in humiliation and unhappiness for both of them. Spoto is wrong, however, about MARNIE. It is one of the director's greatest movies, as moving and sad a depiction of desperation as has been committed to celluoid. It fully deserves its late revival in critical favor.

This is a clearly written, highly entertaining biography, and one of the closest glimpses we are liking to get straight from the director's chair.