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The Paris Review - Dial D for Dinner - The Paris Review


Alma Reville with a wax figure of Alfred Hitchcock’s head, 1974. © Philippe Halsman/Magnum Photos.
Within the shifted reality of an Alfred Hitchcock movie there is no steady fact of existence that cannot be undermined. The ambiguity extends even to food and drink. In
Notorious, Ingrid Bergman’s heroine is poisoned in her own home by a cup of coffee, while homebodies in
The Man Who Knew Too Much feel discomfort in foreign lands because of the exotic food they are fed. In mid-twentieth-century America, nothing could be more wholesome and nourishing than a glass of milk except when it’s handed to an unwitting guest at the Bates Motel as part of her final meal. ....

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The Many Selves of Alfred Hitchcock, Phobias, Fetishes and All


The Many Selves of Alfred Hitchcock, Phobias, Fetishes and All
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In the world of Alfred Hitchcock, resemblance is fatal. It is the story of “Vertigo,” of Charlie, in “Shadow of a Doubt,” named for a beloved uncle who turns out to be a notorious murderer of wealthy widows. Think of the falsely accused men in “The Lodger,” “The Wrong Man,” “The Thirty-Nine Steps,” “I Confess,” “North by Northwest” and “Frenzy.”
Of course, there was no one to resemble
him. With his uniform of dark suits, his Victorian manner, he was a relic in his own time. Only Mickey Mouse cut a more distinctive profile. And for all the influence of his films, he has no real inheritors, no one who combines silence, suspense and wit in that particular way, with his winking self-referentiality and the thicket of fetishes and symbols that became a grammar of th ....

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