
Vertigo
Nobody has ever made obsession look this beautiful or this sick: a man falls for an image instead of a person, and Hitchcock follows him past every point it should stop.

Nobody has ever made obsession look this beautiful or this sick: a man falls for an image instead of a person, and Hitchcock follows him past every point it should stop.

The film that invented modern horror: Hitchcock broke an unspoken rule about how a story is meant to behave, and every thriller since has been working in the space he opened.

Suspense has never been constructed more purely, and the real subject is the audience: Hitchcock traps you in one room with a man who cannot stop watching his neighbors.

Every spy thriller since owes it something, James Bond most of all: Hitchcock chases an innocent man across America by crop duster and over Mount Rushmore, enjoying himself throughout.

Hitchcock's most grown-up film, and the one where the suspense is entirely about feeling: a woman is sent to seduce a Nazi by the man who loves her.

The premise is so clean that thrillers have been borrowing it for seventy years: two men meet on a train and one of them proposes swapping murders.

Alfred Hitchcock threw live gulls at Tippi Hedren for five days and gave the film no conventional score: only electronic shrieks, a quiet California town, and crows gathering on a schoolyard jungle gym.

Alfred Hitchcock's only Best Picture, collected by his producer, and the heroine never gets a name: a young bride arrives at an English house where the first wife's housekeeper still rules.

Alfred Hitchcock disguised half the cuts so the film plays like one unbroken take: two students host a dinner party in the apartment where they have done something, and the camera never leaves.

The Hitchcock film scholars argue about most, and the production that ruined his working relationship with Tippi Hedren: a compulsive thief is caught by someone who decides to keep her.