Over the last couple of years I’ve been watching and reviewing every surviving Alfred Hitchcock movie. So as today (Tuesday 13 August 2019) marks 120 years since the director’s birth, here are all those films in order of preference…
53. Number Seventeen (1932)
An underwhelming, muddled mess that sees various ill-defined characters doing boring things in an abandoned house. Read the full review here.
52. Juno and the Paycock (1930)
A plainly filmed drama based on a dull stage play set during the Irish Civil War. Read the full review here.
51. The Farmer’s Wife (1928)
Soppy and forgettable melodrama. Read the full review here, where I go off-topic and discuss where Hitchcock got his ideas from.
50. The Skin Game (1931)
Badly made, run-of-the-mill drama about landowners. Read the full review here.
49. Easy Virtue (1928)
A meandering romantic potboiler. Read the full review here.
48. Champagne (1928)
Frivolous and lightweight, this silent comedy sees an heirless lose her money. Read the full review here.
47. Elstree Calling (1930)
Hitchcock directed some linking scenes for this diverting if up-and-down sketch film. Read the full review here.
46. Jamaica Inn (1939)
A well staged, but ultimately lacklustre, adaptation of the Daphne du Maurier novel. Charles Laughton hams it up something rotten. Read the full review here.
45. Mr & Mrs Smith (1941)
An attempt at a screwball comedy, with one of the genre’s leading lights – Carole Lombard. It doesn’t really come off, but is still reasonably enjoyable. Read the full review here.
44. I Confess (1953)
A po-faced Montgomery Clift plays a priest wrongly accused of murder in a drama that misfires. Read the full review here.
43. Topaz (1969)
The spy plot is often clunky and the cast is one of Hitchcock’s weakest, but there’s a certain European glamour to proceedings. Roscoe Lee Browne has an enjoyable minor role as an undercover agent. Read the full review here.
42. The Paradine Case (1947)
Good turns from Gregory Peck and Louis Jourdan make this illogical courtroom drama worth seeing. Read the full review here.
41. Rich and Strange (1931)
A married couple splurge some newfound cash on an around-the-world holiday. Throwaway but fun. Read the full review here.
40. Suspicion (1941)
Cary Grant excels – did he ever do anything else? – as a flashy cad whose marriage to Joan Fontaine doesn’t go well. Read the full review here.
39. The Man Who Knew Too Much (1934)
The first of two Hitchcock films using the same storyline about a couple’s child being kidnapped by terrorists. This version suffers a bit from stiff-upper-lipedness but is enlivened by Peter Lorre turning up as the villain. Read the full review here.
38. The Birds (1963)
Not as wonderful as its reputation suggests, but still excellently made and genuinely terrifying at times. Read the full review here.
37. Under Capricorn (1949)
A rare Hitchcock period film, this 19th-century drama set in an Australian colony town is fun to watch because most scenes are shot in long, unedited, theatrical takes. Read the full review here.
36. Foreign Correspondent (1940)
Far from Hitch’s best movie about international espionage, this loses steam after a fun opening act. But the director was so adapt at this genre that it’s still entertaining. Read the full review here.
35. The Ring (1927)
An engaging silent film about boxing and romance. Read the full review here.
34. The Manxman (1929)
Before he became the Master of Suspense, Hitchcock directed in a variety of different styles; here, for example, is a likeable melodrama about a love triangle on the Isle of Man. Read the full review here.
33. Murder! (1930)
This early talkie has a lot of vibrant visuals and an interesting plot about an actress accused of killing a colleague. Read the full review here.
32. Secret Agent (1936)
An entertaining spy film that eerily pre-empts the tropes of the James Bond stories – 16 years before Ian Fleming wrote his first novel. Read the full review here.
31. Torn Curtain (1966)
Another espionage thriller, this time with Paul Newman’s scientist defecting to East Germany and being followed by his concerned girlfriend (Julie Andrews). The plot is see-through but there are some great moments, including a macabre death scene for one of the bad guys. Read the full review here.
30. Saboteur (1942)
It lacks star power and is episodic, but this is one of several entertaining Hitchcock films about a man wrongly accused of a crime. Read the full review here, in which I discuss the context of making a war film during the war.
29. The Trouble with Harry (1955)
A pleasingly quirky black comedy about a dead body being found in the woods. John Forsythe, Hitchcock regular Edmund Gwenn and Shirley MacLaine (in her first film) lead the cast, while the autumnal colours of New England are gorgeously presented in VistaVision. Read the full review here.
28. Spellbound (1945)
Ingrid Bergman is the star attraction in this torrid, psychology-based thriller about a man (Gregory Peck) with amnesia posing as a doctor. Ignore the naïve character work; enjoy the stellar cast and the way Hitch ekes out the mysteries for all their worth. Salvador Dalí helped create the film’s oddball dream sequence. Read the full review here.
27. Downhill (1927)
Impressive silent movie starring Ivor Novello as a student whose life suffers when he makes an honourable choice. Read the full review here.
26. Young and Innocent (1937)
A lively and fun man-on-the-run story that features one of Hitchcock’s most audacious shots as a camera swoops across a ballroom full of people to focus in on a murderer. Read the full review here.
25. Waltzes from Vienna (1934)
Hitch’s only music-based film, the story charts Johann Strauss’s composition of The Blue Danube (with a rather loose sense of historical accuracy). It’s made with a sense of humour. Read the full review here.
24. Sabotage (1936)
A tense thriller set in and around a London cinema. The sequence where a boy makes a cross-city trip on a bus – while unknowingly carrying a bomb – is justly revered. Read the full review here.
23. The Pleasure Garden (1925)
Alfred Hitchcock’s first feature film is a little gem: a visually inventive and never-boring story about two West End dancers and their conflicting romantic experiences. Read the full review here, in which I set off to explore Hitchcock’s childhood and early career.
22. Strangers on a Train (1951)
A devilish thriller, based on the macabre premise of a man committing a murder on someone else’s behalf and then expecting the same in return. The tension mounts throughout. Read the full review here, where I look at the imagery of the film.
21. Family Plot (1976)
Hitchcock’s final film – released over half a century after his first – is a comedy thriller about a pair of con artists trying to track down a rich heir. The cast is terrific, with fun turns from Bruce Dern, Barbara Harris, Karen Black, William Devane, Katherine Helmond and Coach from Cheers, while the movie never takes itself too seriously. Read the full review here.
20. The Man Who Knew Too Much (1956)
The one instance of Alfred Hitchcock remaking his own work. This 1950s, colour, Hollywood redo betters the original 1930s, black-and-white, British version by virtue of having a better lead cast (James Stewart and Doris Day) and a deeper sense of emotion. Read the full review here.
19. Stage Fright (1950)
A complex crime thriller set around the world of the theatre. Some critics have taken issue with what they see as a storytelling cheat, but we revel in the cat-and-mouse plotting, the suspenseful action, the eclectic cast (Richard Todd, Marlene Dietrich, Alastair Sim, Joyce Grenfell, the Major from Fawlty Towers) and the themes of lying, pretending and acting. Read the full review here.
18. Blackmail (1929)
Planned as a silent movie, then retooled during production as a talkie (Britain’s first), Blackmail is simply terrific. Starring Czech actress Anny Ondra – the first in a long line of troubled blondes in Hitchcock’s filmography – it sees a woman fight back during a rape and kill her attacker. She fears being accused of murder, then an anonymous witness attempts to extort money from her. Stunningly inventive, both visually and aurally, it also features one of Hitch’s most prominent cameos: he plays a man being irritated by a child on a tube train. Read the full review here.
17. Marnie (1964)
Tippi Hedren’s lead character is a troubled drifter, a woman who takes jobs so she can steal the company’s cash and then move on to a new town. But when she encounters Sean Connery’s wily businessman, he catches her out and develops an obsession. The movie is excellently put-together, very watchable and fascinatingly complex. But it does need to be viewed in context. Behind the scenes, Alfred Hitchcock had a reprehensible attitude to an infamous rape scene, while the story arc sees a psychologically damaged woman ‘cured’ by domineering misogyny and a forced catharsis. Read the full review here.
16. To Catch a Thief (1955)
As delightfully sun-kissed and elegant as its French Riviera setting, this stylish, witty and romantic caper film sees an effortlessly debonair Cary Grant attempting to prove that he’s not responsible for a spate of thefts. Grace Kelly is the scintillatingly sexy love interest; John Williams and Jessie Royce Landis provide entertaining support. Read the full review here.
15. The Lady Vanishes (1938)
This train-based spy caper often has its tongue in its cheek, but is still suspenseful in the classic Hitchcock way. While commuting across Europe, Margaret Lockwood’s Iris meets a friendly old woman – but after the woman goes missing no other passenger remembers seeing her. As well as the mystery plot to enjoy, there are comedic minor characters, charming model shots and dialogue worthy of a screwball comedy. Read the full review here, in which I directly compare the movie with its 1979 remake.
14. The Wrong Man (1956)
The straightest and least flamboyant film the director ever made sees Henry Fonda’s jazz musician and family man tagged for a crime he didn’t commit. But rather than the equivalent characters in the many other Hitchcock films that use this idea, Manny doesn’t flee across country to prove his innocence. He instead surrenders himself to the justice system, which is dramatised in cold, harsh detail. Largely shot in real locations, the movie has a vérité feel and a terrific cast (including an impressive Vera Miles as Manny’s anxious wife). Read the full review here.
13. The Lodger: A Story of the London Fog (1927)
Alfred’s finest silent film is a dark and dangerous tale, a gorgeous mixture of tension, menace, romance, visual audacity and German Expressionism. Ivor Novello plays a mysterious man who is suspected to be a Jack the Ripper-alike killer. Read the full review here.
12. Rebecca (1940)
A ghost story where the ghost never appears, this Gothic-tinged movie mixes high emotions with effective psychology. Joan Fontaine’s unnamed heroine falls for a rich man played by Laurence Olivier. But after she moves into his Cornish country house, Manderley, she can’t escape the shadow cast by his late first wife. Hitchcock shows an amazing command of the material, artfully shifting the tone from romance to mystery, from melodrama to horror. Read the full review here.
11. Lifeboat (1944)
The first in a subset of Hitchcock films that tell their stories in a single setting, this entire movie takes place in a small craft adrift in the Atlantic Ocean after a passenger ship is torpedoed by the Germans. (The film was made during the Second World War.) A ragtag collection of survivors must work together, keep each other’s spirits up, marshal supplies, perform emergency medical aid and try to find a way out of the situation. The ante is then raised exponentially when a German from the U-boat that caused the disaster is found floating in the water. An endlessly impressive, claustrophobic and never-dull film. Read the full review here.
10. Frenzy (1972)
A brilliantly seedy and grubby movie, set in a down-and-dirty, working-class London. A serial killer is on the loose around Covent Garden and an innocent man (Jon Finch) finds himself accused after his ex-wife is raped and murdered. The terrific supporting cast includes Anna Massey, Barry Foster, Barbara Leigh-Hunt, Billie Whitelaw and Bernard Cribbins, while the genuine locations and lack of any Hollywood glamour give the story a sinister, sleazy edge. (Being a Hitchcock film, there are also flashes of black comedy.) Read the full review here.
9. Psycho (1960)
A sensationally twisted horror film – the granddaddy of the slasher genre – which is enlivened by the very smart central performances from Janet Leigh and Anthony Perkins. The famously famous shower scene is still shocking and effective when you view it in context, but the storytelling that leads up to that moment might be even more impressive. Read the full review here – which, to be honest, doesn’t really talk about Psycho very much and instead looks at the connections between Hitchcock and James Bond.
8. Shadow of a Doubt (1943)
Joseph Cotten plays a mysterious man from Philadelphia who needs to lie low, so he goes to stay with his apple-pie relatives in a small, quiet town. However, his relationship with his doting niece (a wonderful Teresa Wright) is tested when she begins to believe he’s a serial killer. Complexity, ambiguity and film-noir style abound. Read the full review here.
7. The 39 Steps (1935)
A rip-roaring romp that sees Robert Donat flee to Scotland to find out why a woman was killed in his London flat. Madeleine Carroll is the spunky dame he hooks up with along the way, while John Laurie of Dad’s Army fame plays a grumpy crofter. Packed full of excitement, humour, action and panache, this is an endlessly influential movie that essentially serves as the blueprint for all the road-movie caper films that have followed. Read the full review here, where I talk about remakes of and sequels to Hitchcock’s work.
6. Notorious (1946)
One of Hitchcock’s most sophisticated works, this grown-up spy thriller sees Cary Grant’s US intelligence agent recruit Ingrid Bergman to go undercover with some Nazis hiding in Brazil. The two leads are simply sensational – their sexual chemistry is unrivalled – while there’s strong support from the likes of Claude Rains. Hitchcock directs with precision, keeping things focused and textured at all times. Sublime beyond belief. Read the full review here.
5. Rope (1948)
A dazzling example of filmmaking rhetoric, this one-set thriller plays out in real time and is shot in a succession of loooooong takes. Two young men murder a friend as an intellectual exercise then invite his loved ones round for a soirée with the corpse hidden in a nearby chest. Playful and macabre in equal measure, with a terrific cast headlined by John Dall, Farley Grainger and James Stewart. Read the full review here – see if you can spot the incredibly funny conceptual gag I employed while writing it.
4. Rear Window (1954)
Another high-concept film. James Stewart plays a housebound photographer who becomes vicariously curious about the neighbours he spies on from his apartment window. When he believes he sees evidence of murder, his broken leg prevents him from investigating directly so he recruits girlfriend Grace Kelly and housekeeper Thelma Ritter to act as his proxy. The camera never once leaves Stewart’s side, so we experience the story solely from his perspective: we see what he sees, feels what he feels. A sumptuous piece of cinematic storytelling. Read the full review here, in which – like every review of Rear Window ever published – I discuss Hitchcock’s use of point of view.
3. North by Northwest (1959)
A foot-to-the-floor adventure movie that sees Cary Grant’s oblivious businessman get caught up in international espionage. The plot is probably the least important aspect (in Hitchcock’s terms, it’s a MacGuffin – something trivial to motivate the characters). Instead, the storyline acts as a gallery space on whose walls hang a myriad of pleasures: mysteries, action sequences, comedy, sex, danger, tension, absurdity, style, panache, excitement, interesting characters, theatrical production design, thrilling incidental music and an enormous amount of fun… Read the full review here.
2. Vertigo (1958)
A profound meditation on the dangers of obsession, this beautiful and deeply meaningful movie – once voted the greatest ever made by a leading film magazine – follows James Stewart’s retired cop as he falls for a psychologically unsound woman played by Kim Novak. The craft on display in the filmmaking is stunning; the way Hitchcock reveals information, paces scenes and stokes emotions is utter perfection. The effect is close to hypnotism, so complete is the grip of the storytelling. Read the full review here, during which I go off on a tangent about how I love cinema.
1. Dial M for Murder (1954)
Beating the magisterial Vertigo to the top spot based on a decision made by the heart rather than the head, Dial M is the director’s take on an Agatha Christie-style murder mystery. We’re in an upper-middle-class world of a moneyed couple who seem at first to be happy, but there are dark secrets within the marriage. The Hitchcockian twist comes from the fact that we viewers are privy to the killer’s plan from the start… Ray Milland’s ex-tennis pro decides to bump off his wealthy wife in revenge for her having an affair. (She’s played by Grace Kelly, one of the most beautiful women ever filmed, so personally I’d have forgiven and forgotten.) We follow Tony as he meticulously plans the crime and blackmails an old acquaintance into doing the deed while he creates an alibi, but then on the night it all goes wrong… Stylish, brilliantly cast, and – as I can attest – endlessly rewatchable entertainment. Read the full review here, in which I argue my favourite Hitchcock movie is essentially an episode of Colombo.