In his films, the protagonists are always under investigation.
The critical observation of the culture ever-present in his films no doubt stems from moving to America in the early part of his career and getting accustomed to this much different lifestyle. The entire film is spent in the protagonist’s apartment observing the day-to-day behaviors and trivial problems of his neighbors until it is discovered that one of the neighbors has actually committed a murder. In the same wave, Rear Window is all about neighbors and neighborhoods. In Shadow of a Doubt, we are introduced to an ordinary family who is stuck in their own boring routine, that is until Uncle Charlie comes to visit them and brings trouble along with him. This is especially clear in films like Shadow of a Doubt and Rear Window. All of his films feature typical American characters and families living very ordinary, mundane lives in suburbia… until things are turned upside down (as expected for a film by the Master of Suspense). ThemesĮvery Hitchcock film looks at the complexities of everyday life. He is so well known for creating films of this genre that he has been awarded the nickname ‘Master of Suspense’. Hitchcock films are most often thrillers, pegged as such because of their suspense, psychologically complex characters, and twist endings. His background writing no doubt helped to cultivate his ability to tell suspense stories masterfully. He also spent an early part of his career writing pieces that followed along with the same wave as his films to come. The themes of punishment and being wrongfully accused, as well as the role of the parent, are frequently discussed in his films. As he later described, he was often wrongfully blamed and punished by them (with punishments that far outweighed his supposed crimes).
His relationship with his mother and father in the early part of his childhood was strained. Hitchcock’s Point of ViewĪlfred Hitchcock (born Alfred Joseph Hitchcock in 1899) grew up in Leytonstone, England from a strict Catholic background. And most importantly, this ‘signature’ they have developed must be evident in all of their work, linking every piece in a way that makes it clear to audiences that this film is entirely theirs.
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They have to have full command over the way the story is told, both artistically (themes, genre, symbols, and overall mise-en-scène) and technically (shots, framing, and overall mise-en-shot). They need to have their own perspective, a unique point of view that imposes itself onto every film they work on. According to the theory developed by New Wave directors in the 1950s, it’s much more personal than that.
To be an auteur is to be much more than a director who simply directs films.
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