Hitchcock best movies

Alfred Hitchcock's Top 25 Films, Ranked

Happy Birthday, Hitchcock: His 25 Best Films, Ranked

Aug 13, 2015 4:59 pm

Debates about Alfred Hitchcock have been raging for decades. Was it a cruel genius who treated his actors like cattle, torturing his blondes' performance out of them? (Someone, like established movie star Grace Kelly, a few days ago.) Some critics prefer the more whimsical British Hitchcock, tongue tucked in cheek, his first breakout hit "The Lodger" (1927) was a sign of things to come .

Clearly, Hitchcock learned from early Hollywood mentor David O. Selznick, who taught him a great deal, points out David Thomson in "The New Biographical Dictionary of Film." Over 50 years, the filmmaker in the dark, often opaque characters. Cary Grant, especially, excelled at playing charismatic men whose motives and true nature were open to interpretation, from "Suspicion" to "Notorious."

Hitchcock was a true artist in the sense that he often pursued his muse even when he was not supported by the studios. But he always balanced the occasional experimental flop with plenty of mainstream hits. He did not care that his obsession with genre items was so commercially "safe" today-we were not approved by the Hollywood establishment, which is considered B movies. He proved to be better than Steven Spielberg what audiences really want. Clearly, he enjoyed shocking and frightening them.

And more than most filmmakers, Hitchcock took over his film and production of his stories, and embraced television as a medium, which helped, along with his film cameos, to create a persona who was recognizable by the public. One of the earliest to instinctively understand the power of branding, "Hitch" became the most famous director who ever lived. He had an instinct for self-promotion, putting himself in his own movie trailers. He created a wry comedic persona -the director who winks at the audience as he sets out to scare the bejeezus out of them.

Do we defend Hitchcock's use of rear screen projection until the bitter end, when it was not longer in vogue? I remember laughing at the fake road curves in "Family Plot." But all in all, that stubborn habit was a minor transgression.

As a restored version of Hitchcock's voyeuristic classic "Rear Window" returns to circulation, the TOH gang ranks the top 25 Hitchcock films. Yes, we leave some amazing movies. Feel free to tell us where we went wrong-especially in our choice of Number One. Do we go along with Sight and Sound's consensus choice? Read it and weep. -Anne Thompson

25. "The Paradine Case" (1947)

Napoleon had Waterloo; the Red Army Hockey Team had Lake Placid; The Beatles had "Mr. Moonlight "; George Clooney has "Monuments Men." Everybody's got something to hide, for Hitchcock, it's this hammily acted courtroom-drama-meets-psychological thriller starring Gregory Peck ("Spellbound"), Alida ("The Third Man") Valli, Ann Todd, Charles Laughton and Hitchcock regular Leo G. Carroll, Alfred Hitchcock. In actuality, Hitchcock was at the end of his contract with David O. Selznick (who was big-footed on the production), and really just wanted out. As will anyone who sits down to watch the results.-John Anderson

24. "Lifeboat" (1944)

One of Hitchcock's experiments in the use of a single frame of mind. Lee and William Bendix's dumb-lug Gus to Walter Slezak's callous Nazi Willi to Heather Angel's unstable woman clinging to her dead baby. But it's Tallulah Bankhead as cynical reporter Connie with her marvelously deep-throated line readings ("Dying together's even more personal than living together") and glamorous accessories that float away one by one that keeps this dramatic rig afloat. The wartime premise allows Hitchcock to forthrightly address the issue of God's role in humanity's fate. Meanwhile, Connie often surprises both her boat and the audience with her spontaneous actions, such as when she kisses her face.-Susan Wloszczyna

23. "Frenzy" (1972)

Just when most fans have given up hope of Sir Alfred ever again thrilling, go on a darkly nasty late-life delight - his second to last movie. This variation on the familiar theme of a man (then-rising-star Jon Finch) wrongly accused of a crime as a so-called "Necktie Strangler" stalks London was his first British production in ages and took advantage of the era of loosening of graphic restraint. Hitchcock portrays twisted appetites both carnal (psychopathic fruit vendor Barry Foster sexually challenged his female prey before choking them) and culinary (Alec McCowen's font inspector is forced to dine on his wife's horrifically inedible gourmet creations ). There are numerous brilliantly staged scenes often employing silence. But it's going to be a hell of a fight, but it's going to be a lot of time. His desperate attempt to yank it from the clutches of a stiff corpse that involves breaking a finger is macabrely echoed in a parallel shot of McCow's wife snapping a breadstick.-Susan Wloszczyna

22. "The Wrong Man" (1956)

This black-and-white thriller adapted by Maxwell Anderson from his own novel "The True Story of Christopher Emmanuel Balestrero" closely mirrors the real-life story of an innocent man wrongly accused of armed robbery. Hitchcock swears "every word is true." While that may be true, the film's bold and impressionistic style gives "The Wrong Man" the quality of a dream. Henry Fonda conveys mountains of disquiet and frustrations to a string of legalized kafkaesque merry-go-round whose desperate plan to borrow against his wife (Vera Miles) life insurance goes hideously awry and lands him in jail. Hitchcock's prisons and courtrooms crawl with shadows and silhouettes, with composer Bernard Herrmann pulling back on his usual musical flair to create a musical score whose subtly feels subversive for a 1956 film. In retrospect, this was likely too grim and depressing to black for the masses. It is a flop at the time, but has since been critically reappraised. But from a distance, its jaded, world-weary spirit feels apropos of the here and now. -Ryan Lattanzio

21. "Saboteur9rdquo;(1942)

One of the most iconic sequences among Hitchcock's movies is this wartime thriller's climactic chase atop the Statue of Liberty, with Teutonic-accented evildoer Norman Lloyd trying unsuccessfully to escape Robert Cummings. (And who can blame him?) This is a transitional Hitchcock: His first U.S. production, "Rebecca, 9rdquo; was really English; "Saboteur, 9rdquo; with a "story9rdquo; by the director (and a screenplay co-written by Dorothy Parker) is really "The 39 Steps" without the throwaway good words and general air of sophistication. Instead of the relatively edgy Madeleine Carroll and the great Robert Donat, Hitchcock has Cummings and Priscilla Lane, and he has revisited his entire career - that of the wrongly accused against a vaguely defined force of evil. In "Saboteur, 9rdquo; it's all a bit obvious. -John Anderson

20. "The Man Who Knew Too Much"(1956)

The master of suspense's remake of his 1934 British thriller featured one of his favorite collaborators, James Stewart, as an American doctor on an international trip involving an international terrorist ring involved in an assassination plot. The foreign villains here are sadly one-note. But the standout performance comes from an unexpected source: Musical comedy star Doris Day in a rare dramatic role. Hitchcock blonde by nakedly expressing the agony of a child who has been snatched away. She is the instrument that drives the movie's terrific centerpiece where a crashing cymbal during a concert performance is the intended signal for the killer to shoot his target. And the lovely sequence where Day serenades her child as he prepares for the bedtime with the Oscar-winning song "That Will, Will be" is bookended by a cover of the tune that she bravely performs at an embassy to alert her hidden-away child that she is near. -Susan Wloszczyna

19. "Dial M For Murder" (1954)

Grace Kelly is one of the most technically impressive sequences in the history of Hitchcock's Grace Psychosis. In "The Dial M", "Dial M" offers Kelly the plum role of a socialite wife whose husband (Ray Milland), learning of her affair with a writer (Robert Cummings), coerces a criminal into offing her. But of course, everything goes magnificently awry. It's pure entertainment, but with the Freudian clues and codes of Hitchcock's later films, but not reluctantly hair-splittingly suspenseful. -Ryan Lattanzio

18. "Blackmail9rdquo; (1929)

This is one of the most classically Hitchcockian of the Hitchcock "Silents in its criminal setting, motifs, and use of suspense - not to mention the first use of a chase sequence around a famous location, in this instance the British Museum. ("Blackmail" also exists in a part-talkie version, in which, bizarrely, the Czech actress Anny Ondra Joan Barry.) The BFI's Glowing Restoration (from the original negative) is a revelation . -Meredith Brody

17. "Foreign Correspondent" (1938)

Two of Hitchcock's movies were in the running for Best Picture in 1941 - the relatively stodgy "Rebecca9rdquo; (which won) and this charmer, about an American reporter in Europe, stumbling onto the launch pad of World War II. It's funny how the film's star, Joel McCrea, has faded from public consciousness in a way that, say, Cary Grant has not: McCrea had Grant-like versatility with both comedy and drama, could summon the folksiness of a Gary Cooper was as virile as any star in Hollywood. As Johnny Jones - redundant "Huntley Haverstock" by a publisher (Harry Davenport) who thinks it sounds better - he suggests Tom Sawyer, Secret Agent: When a Dutch diplomat (Oscar nominee Albert Bassermann) is shot on the rainy steps of a cathedral- Hitchcock's iconic moments - a crane shot that shows, not the fleeing assassin, but the ripple he causes a crowd of umbrellas - and sets Huntley on the trail of agents intent on the world aflame. "Foreign Correspondent" may not be better than "Rebecca, 9rdquo; but it's a lot more fun. -John Anderson

16. "Suspicion" (1941)

In the mold of "Notorious9rdquo; and "Rebecca, 9rdquo; this relationship mystery black (based on a popular novel) hinges on the idea that purple shrinking Joan Fontaine does not trust her charming rake of a new husband, Cary Grant, who is ambitious to be more than he is. Is it her fanciful imagination that runs away with her, as she uncovers her gambling and other secrets, or is her gut telling her to be afraid, Hitchcock snakes through the ebbs and flows of their evolving emotions, manipulating us at every hairspin turn. Fountain won the only Best Actress Oscar for the under-appreciated Hitchcock, who was nominated for five Oscars but had to settle for the Irving Thalberg Honorary Oscar in 1968. -Anne Thompson

15. "The Lady Vanishes" (1938)

Primo English Hitchcock Except for a bit of sluggishness aboard the train, where Margaret Lockwood tries to find the tweedy English lady who she's sure she puts (Lady May Whitty), and who shares her tea before disappearing into the gap maw of international railroad-traveling espionage. Hitchcock - Michael Redgrave, for the thing, the charming musicologist whose skepticism about Lockwood 's story is slowly gaining momentum. The pacing, too, feels imported: It's almost half an hour before Hitchcock bothers to get everyone on that train, we're getting acquainted with the characters and their supreme self-interest (which, rather than pure evil, is the on -board source of malignancy). Noteworthy among the cast are Naunton Wayne and Basil Radford as the comical effect cricket fans Caldicott and Charters, who are conspiring to keep the mystery train moving, they miss their match in Manchester. -John Anderson

Watch: Hitchcock's Thwarted Holocaust Documentary

13. "Marnie" (1964)

The New Yorker's Richard Brody, among others, have gone some way to reclaiming "Marnie9rdquo; from the ash heap of Hitchcock's misfires, this portrait of a damaged man (Tippi Hedren) and the man (Sean Connery) who is one of the most slippery, challenging works. With wild splashes of crimson and Bernard Herrmann's lush, piercing score, it turns up the oven-hankie melodrama to a full boil-and, intermittently, allows it to curdle. Nevertheless, "Marnie, 9rdquo; anchored by Hedren's stricken performance, is a dauntless attempt to render psychosexual trauma in the syntax of film form; even when it stumbles, Hitchcock's obsessed near-masterpiece bristles with bold, expressionist fervor. -Matt Brennan

12. "North by Northwest" (1959)

Hitchcock gives several leading men the best roles of their careers. Cary Grant was at his most suave as an ad man mistaken for a secret agent who has come to live by his wits to survive assault from unexpected quarters, including a crop in a cornfield, one of the most famous of Hitchcock's bravura set pieces. Grant also memorably makes love to Eva Marie Saint we have train ... and clambers over craggy presidents at Mount Rushmore. Hitchcock had always wanted to shoot there, and developed the convoluted spy thriller with scriptwriter Ernest Lehman (recommended by composer Bernard Herrmann, whose score starts off the movie against the iconic Saul Bass titles), who set out to deliver the ultimate Hitchcock movie. And so he did. At least, it can be the most entertaining. -Anne Thompson

11. "The 39 Steps" (1935)

Hitchcock had already produced such laudable efforts as "The Lodger" (1927), "Blackmail" (1929), and "The Man Who Knew Too Much" (1934) when he directed "The 39 Steps," an unbalancing act of the first order. This frothy, witty caper, starring Robert Donat and Madeleine Carroll as unhappy allies in a race to secure military secrets, is essentially a feature-length MacGuffin, but it dances along with such intelligence that the narrative is almost superfluous. Full of twisty reversals and canny humor-it's certainly funnier than the director's "black comedy," "The Trouble with Harry" (155) 9mdash; the film is an early example of Hitchcock's light touch, constructed with brilliant, barbed economy. By the time Donat's Richard Hannay stumbles into giving a rousing political speech, in which he has long for a world "where everyone gets a lot of luck and a sporting luck," "The 39 Steps" seems to be less than a premonition: it may well be Hitchcock's first classic. -Matt Brennan

10. "Rebecca" (1940)

David O. Selznick, whose entertainment-mongering sensibilities clashed with the Englishman's perverse streak, was this Daphne du Maurier gothic melodrama. Judith Anderson turns in a wicked performance as Mrs. Danvers, the spinster housekeeper obsessed with the dead wife of her aristocratic master Max de Winter (Laurence Olivier). In line to become the second Mrs. of Winter, Joan Fountain's heroine suffers Danvers' psychological torture and is about to go into madness (probably not unlike Hitch's many lady muses) and suicide. In black-and-white, "Rebecca" casts a ghostly spell even if its freakier side, including the implications of Danvers' all but sexual fixation on a dead woman, was tempered by the Production Code. But one of the pleasures of viewing Hitchcock in the 21st century is that such sly peculiarities survive anyway. -Ryan Lattanzio

9. "Rope" (1948)

Hitchcock's first Technicolor outing stars John Dall and pretty boy Farley Granger as Brandon and Phillip, two bored and indifferent pals who strangle a classmate in their apartment, and then stage a party in their apartment for the victim's friends and fiancee. All the while, the corpse stiffens in a chest at the center of the room. Enter the quizzical Rupert Cadell (Jimmy Stewart), a mentor and philosopher who gives them the idea of ​​killing an intellectual exercise. Long before "Birdman" spreads his wings, Hitchcock stitched together ten takes to create the illusion of real-time, pushing the state of cinematic art at a time. In the famous Truffaut interviews, Hitchcock wrote off the film's technical "stunt" and "gimmick" -but we should interpret this as the director's typically self-effacing refusal to let the cat out of the bag. The homosexual subtext of Brandon (Dall) and Phillip's (Granger) relationship has, since the passing of Hays Code-era 1948, been accepted by the cognoscenti as the true text of a film that is everything about male anxiety and dread. -Ryan Lattanzio

8. "Shadow of a Doubt" (1943)

These days, mass killings by assailants whose deadly intentions are tragically commonplace. While Hitchcock's films often appear on the theme that appearances are deceiving, few of his titles strike as close to home as seemingly unveiling of the dark underbelly of seemingly wholesome small-town USA. Teresa Wright is highly relatable to Charlotte, a teenager dissatisfied with her middle-class existence who idolizes her charismatic and worldly Uncle Charlie (charmingly monstrous Joseph Cotten). She feels as if she is psychically connected-she's nicknamed Little Charlie in his honor-and is looking forward to his visit. But when he starts to hide the cliffings about the "Merry Widow Murderer," she suspects that he might be behind the crimes. The blackish thriller is a bit like Nancy Drew detective story, but with an undercurrent of an incestuous attraction between the two characters, as young Charlie loses her innocence while driven to confirm her uncle's terrible deeds despite putting herself in peril. Hitchcock himself considered "Shadow of a Doubt" to be one of his favorites. -Susan Wloszczyna

7. "Spellbound9rdquo; (1945)

First-rate Hitchcock and a direct precursor to "Vertigo, 9rdquo; a thriller about psychology and murder, abetted by its setting in a hospital for the insane; the fragile performance by Gregory Peck as the distinguished but deeply troubled Dr. Anthony Edwards; Salvador Dali, designed to illustrate the slalom-like process of Ballantyne's mind. Hitchcock's foray into surrealism is a tickle, of course, but we still prefer that shot of the villain's POV - turning, turning, and finally firing into the camera. -John Anderson

6. "Strangers on a Train" (1951)

Bookended by first- and last-act fairground sequences-the train, with its lurid silhouettes in the Tunnel of Love, is a one of the director's finest set-pieces Strangers on a Train "hurtles towards its conclusion with the speed of a runaway carousel. In between, playboy Bruno Anthony (Robert Walker) handsome handsome tennis player and reluctant accomplice Guy Haines (Farley Granger) with lascivious abandonment, criss-crossing his repressed desires with his plan for the perfect murder. If Bruno's instinct for predation at times suggests Hollywood's long history of homophobic stereotypes, however, the shiver of illicit energy between Bruno and Guy electrifies a film that is otherwise a model of cool control. Until the climax sees the conspiracy spin off its axis, that is, in an explosion of action to which it would aspire. -Matt Brennan

5. "The Birds" (1963)

4. "Rear Window" (1954)

"Lisa.9rdquo; Flick. "Carol.9rdquo; Flick. "Freemont.9rdquo; Flick. My favorite words in the cinema come courtesy of Grace Kelly, as her intrepid socialite turns on the lights in the opening of "Rear Window." Swooning and stylish, as urbane as Franz Waxman's hot-to-trot score, Lisa's first exchange with her ugly-up lover, injured photojournalist LB "Jeff9rdquo; Jefferies (James Stewart), sets the tone for Hitchcock's voyeuristic mystery from the start. One of the world's greatest cinemas, the director of a world in miniature, peering in on newlyweds and lonelyhearts alike with an assist from Jeff's long, thick ... lens. Weaving romance, suspense, and even terror from the ambient sights and sounds of the distant city, all leavened by Thelma Ritter's nurse, "Rear Window" emerges as a paean to the power, and the perversity, of looking, reminder of why we fell for the movies in the first place. -Matt Brennan

3. "Psycho" (1960)

It's this simple: If you do not like "Vertigo," you do not like the movies. In Hitchcock's mesmeric, fantastical 1958 mystery-which still sits proudly atop Sight and Sound's Greatest 50 Movies of All Time poll, dethroning the long-reigning "Citizen Kane" -Chilly blonde Kim Novak dazzles in dual roles as Jimmy Stewart's acrophobic Scottie plums and preens her into the ultimate fetish object. This remains Hitchcock's most palpably perverse picture, thrumming with all kinds of strangeness we never quite grasp-like the last image of a toll the bells of the mission tower Judy plunges to her doom. Hitchcock pioneers the narrative bait-and-switch that drives many contemporary thrillers, by offering at first the chintzy ghost story yarn of is-she-or-isn't-she-possessed Madeleine, only to deflower the story and reveal a deeper psychological tale of disguise and desire.-Ryan Lattanzio

1. "Notorious" (1946)

Walt Kowalski is a veteran of the Korean War, an inflexible man, bitter and prejudiced with old-fashioned prejudices. Aside from his dog Daisy, he trusts only his M-1, always clean, always ready to use.

The bloody and burlesque odyssey of little thugs in the Hollywood jungle through three stories that intertwine.

The narrator, living alone, working alone, sleeps alone, like many other single people who know the moral and sexual misery. That is why he will become a member of the Fight Club, a clandestine place run by Tyler Durden, anarchist between guru and philosopher.

Instead of stealing a dream, an experienced thief and his team must do the opposite: implant an idea into an individual's mind. If they succeed, it could be the perfect crime .

John Doe decided to clean society of the evils that gnaw at it by committing seven murders based on the seven capital sins.

A legend of the crime forces five thugs to go to perform a very dangerous task. Those who survive will be able to share a loot of $ 91 million.

Clarice Starling, a young FBI trainee, is set to investigate a series of horrendous Middle West killings by a female psycho-killer known as the Buffalo Bill.

In the suburbs of Boston, two six-year-old girls, Anna and Joy, have disappeared. Detective Loki favors the kidnapping thesis following the testimony of Keller, Anna's father. Suspect # 1 is quickly arrested but is released a few days later for lack of evidence, resulting in Keller's fury.

Jack, age 5, lives alone with his mother, Ma. She teaches him to play, to laugh and to understand the world around him. A world that starts and stops at the walls of their room, where they are held captive, the only place Jack has ever known.

A young woman on the run finds refuge in an isolated motel.

After a failed hold-up, burglars of high flight make their accounts in a violent confrontation, to discover which of them has betrayed them.

Eight years ago, Batman disappeared into the night: he who was a hero then became a fugitive. But the arrival of Bane, a masked terrorist, in Gotham is likely to pull Bruce out of exile. Still, Batman may not be up to fighting Bane ...

1954. Teddy Daniels and Chuck Aule investigate the disappearance of an escaped patient from a maximum-security psychiatric hospital. The hospital in question is based on Shutter Island, an island located about an hour off Boston.

A disturbing preacher pursues in rural America two children whose father has just been convicted of theft and murder. Before his imprisonment, the father had given them ten thousand dollars, which they must not reveal to anyone.

Rendered responsible for the death of a colleague, Scottie, subject to vertigo, leaves the police. An old relationship contacts him so that he follows his wife, possessed according to him by the spirit of his grandmother. Scottie soon falls in love with the young woman.

On the occasion of his fifth wedding anniversary, Nick Dunne reports the disappearance of his wife, Amy. Under the pressure of the police and the panic of the media, the image of the model couple begins to crumble. Soon, Nick's lies and strange behavior lead everyone to ask the same question: did he kill his wife?

Cole Sear, eight-year-old boy is haunted by a terrible secret. His imagination is visited by menacing spirits.

The tales of the vague moon after the rain

Japan in the 16th century. Two peasant couples are caught in the civil war and leave for the city. Kenjuro the potter meets Princess Wakasa at the market and falls head over heels in love.

A reporter immobilized by a plaster observes from his window the comings and goings of his neighbors. The bizarre behavior of a sales representative intrigues him so much that he thinks he is the murderer of his wife. Fantasy or reality?

A secret agent searches for the serial killer who killed his fiancée.

Writer Andrew Wyke invites the barber Tindle to visit him in his sumptuous residence. Despising this parvenu whose connection he knows with his wife, Andrew offers to simulate a burglary to touch the money insurance.

London, at the beginning of the last century. Robert Angier and Alfred Borden are two gifted magicians, promised from a very young age to a glorious future. The emulation will quickly turn to jealousy, then to hatred.

End of the 80s. A father is kidnapped for no reason and sequestered in a cell. He learns from his cell television that he is accused of murdering his wife. Released 15 years later, he is contacted by the kidnapper.

Crime was almost perfect

Tony, an old tennis fancier, married Margot for his wealth. But it deceives him with a young author of crime novels. Fearing that his wife would leave him and leave him penniless, Tony decides to have her murdered.

Captain Phillips recounts the true story of the hostage-taking of the American merchant ship Maersk Alabama, conducted in 2009 by Somali pirates.

Ranking established according to the spectator ratings attributed to a film on all the films in the AlloCiné database.

Top 20 the best movies of Alfred Hitchcock, the master of suspense

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In 60 years of career and 53 films, Alfred Hitchcock has become one of the most influential directors and cults in the history of cinema. The "master of suspense" has pioneered many thriller-like techniques and some of his films are some of the most important in the genre. Which ? Catch up session :

  1. Window on courtyard (Rear Window, 1954)
  2. Psychosis (Psycho, 1960)
  3. Cold sweat (Vertigo, 1958)
  4. Rebecca (1940)
  5. Death on the trail (North by Northwest, 1959)

And you, which is your favorite Hitchcock?

What are Alfred Hitchcock's best movies from you?

- Young and Innocent

- A woman disappears

- The house of Dr. Edwardes

- The unknown of the Nord Express

- Window on courtyard

- But who killed Harry

- The man who knew too much

- Death on the trail

Asking costs 5 points and then choosing a best answer 3 points!

16 Free Hitchcock Movies Online

Alfred Hitchcock, the master of suspense, directed more than 50 feature films during his long career. Today, his work is admired worldwide, and he is considered one of our finest directors. Although many of his landmark films remain copyrighted, some of his important works, particularly his early ones, have slipped into the public domain. And so we have cataloged 16 Alfred Hitchcock movies that you can watch online - for free.

All Hitchcock movies appear in our big meta collection, 1,150 Free Online Movies: Great Classics, Indies, Black, Westerns, etc. You might also particularly enjoy our collection of Free Black Movies.

  • Blackmail - Free - England's first "talkie" movie feature, starring Anny Ondra, John Longden, and Cyril Ritchard. (1929)
  • Have a nice trip - Free - A French language WWII propaganda movie by Alfred Hitchcock. (1944)
  • Downhill - Free - In this silent movie, a public schoolboy "takes the blame for a friend's theft and his life falls apart in a series of misadventures." Also released under the title, When Boys Leave Home. (1927)
  • Easy Virtue - Free - Early silent film directed by Alfred Hitchcock. Loosely based on a play by Noël Coward. (1928)
  • Jamaica Inn - Free - A young woman discovers that she's living near a gang of criminals who arrange shipwrecks for profit. Stars Maureen O'Hara, Robert Newton and Charles Laughton. (1939)
  • Memory of the Camps - Free - An attempt to revive a World War II film meant to document the Holocaust. Hitchcock was involved with the original project. (1985)
  • Sabotage - Free - Alfred Hitchcock direct this British thriller based on Joseph Conrad's novel The Secret Agent. Also released as The Woman Alone. (1936)
  • Secret Agent - Free - Directed by Alfred Hitchcock, this film was loosely based on stories by W. Somerset Maugham. Stars John Gielgud, Peter Lorre, Madeleine Carroll and Robert Young. (1936)
  • The 39 Steps - Free - One of Alfred Hitchcock's first hits. British thriller is based on John Buchan. (1935)
  • The Lady Vanishes - Free - British movie thriller directed by Alfred Hitchcock. Stars Margaret Lockwood and Michael Redgrave. (1938)
  • The Lodger: A Story of the London Fog - Free - One of Hitchcock's silent classics. A landlady suspects her lodger is a murderer killing women around London. It's said that this is Hitchcock's first "Hitchcockian" movie. (1927)
  • The Pleasure Garden - Free - After several collaborative efforts, Hitchcock made his solo directorial debut in the German-British co-production based on a novel by Oliver Sandys.
  • The Skin Game - Free - A 1931 Hitchcock movie based on a play by John Galsworthy recounts the tragic tale of a family feud. (1931)
  • Waltzes From Vienna - Free - Alfred Hitchcock told Francois Truffaut that this movie (about the writing and performance of The Blue Danube) was the point of his film career. (1934)
  • Young and Innocent - Free - Originally released in the US as The Girl Was Young, this Alfred Hitchcock movie was based on Josephine Tey 's novel A Shilling for Candles. (1937)
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