Alfred Hitchcock on the set of Rear Window, 1954
Paintings and other visual art in the films of Alfred Hitchcock
Featuring: The Trouble with Harry (1955), Suspicion (1941), Blackmail (1929), Frenzy (1972), The Lodger (1927), Rebecca (1940), Psycho (1960), The Wrong Man (1956), Topaz (1969), and Vertigo (1958).
There’s always a clue in the paintings. The flowers and the hair of Carlotta Valdes in Vertigo, the triggers for the return of repressed pain in Rebecca and The Lodger, Manny (aka Christopher Emmanuel) as the innocent Christ-figure in The Wrong Man, and the voyeuristic objectification of women in Frenzy and Psycho (that’s a depiction of Susanna and the Elders that Norman uses to hide his peephole). Even Sam Marlowe’s abstract works in The Trouble with Harry seem to mirror Arnie’s discombobulated sense of the past, present, and future, which manifests itself in the plot when the townspeople conspire to repeat today tomorrow.
To see more of my posts on Hitchcock’s visual proclivities, click here.
Gregory Peck in Spellbound (1945) dir. Alfred Hitchcock