Alfred Hitchcock

Beyond the Multiplex Ashton Kutcher, American gigolo

The wisecracking TV host and trophy husband proves he can act in "Spread," a deceptively dark SoCal sex satire
By Andrew O'Hehir Aug 13, 2009

  • Quentin over Fellini? "Annie Hall" over Antonioni?

    Has critical taste become fossilized? A new greatest-films poll yields some odd results, but poses old questions
    By Andrew O'Hehir July 14, 2009

  • DVDs you should have seen, but didn't: Buñuel, Visconti, Hitchcock, Chris Marker and more

    Two of Buñuel's weirdest, Chris Marker's magnum opus, Riviera Hitchcock, the original "Odd Couple" and more.
    By Andrew O'Hehir May 21, 2009

  • Out of the past

    It's easy to laugh at classic Hollywood movies. It's harder to grasp that they're America's truest and most necessary cultural heritage -- and wicked, brazen, unsentimental fun besides.
    By Charles Taylor March 25, 2003

  • "12 Monkeys"

    Combining time-travel thriller and experimental film, Terry Gilliam's 1995 oddball classic steals a tale of doomed love and cruel fate from Hitchcock -- then pays back the debt.
    By Virginia Vitzthum August 19, 2002

  • "North by Northwest"

    Screenwriter Ernest Lehman talks about his plan to write "the ultimate Hitchcock movie."
    By Bill Wyman September 25, 2000

  • "Diabolique"

    Did a Frenchman scare Hitchcock into making "Psycho"?
    By Michael Sragow August 31, 2000

  • "Sabotage" and "Secret Agent"

    Was 1936 Hitchcock's very best year? Two thrillers, including the director's weirdest movie ever, make the case.
    By Michael Sragow August 18, 2000

  • "Psycho"

    Hitchcock's creepy thriller about sex has imprinted itself on the psyche of two generations of moviegoers.
    By Bill Wyman August 17, 2000

  • "Marnie"

    Hitchcock's florid psychodrama unfolds multiple layers of repressed memory, frigidity and changing identity.
    By Stephanie Zacharek August 16, 2000

  • "Notorious"

    In this truly twisted love story, the passion between Cary Grant and Ingrid Bergman is so powerful it's almost a character in itself.
    By Andrew O'Hehir August 15, 2000

  • "The Birds"

    Tote up all its flaws and you still reach the same conclusion: Hitchcock's ornithological thriller is simply terrifying.
    By Charles Taylor August 14, 2000

  • "The 39 Steps"

    A crisp transfer shows the Hitchcock classic as you've never seen it before -- black cat and all.
    By Charles Taylor August 11, 2000

  • This dame was a lady

    Janet Leigh rebuffed Howard Hughes, made movies with Orson Welles and collaborated with Alfred Hitchcock. But don't call her an actor.
    By Michael Sragow June 29, 2000

  • "Mission to Mars"

    In space, no one can hear you jeer.
    By Andrew O'Hehir March 10, 2000

  • Window washers

    Robert A. Harris and James C. Katz bring the reds, whites, blacks and blues back into Hitchcock's nimble masterpiece about the burden of perception.
    By Michael Sragow February 10, 2000

  • Letters to the editor

    Compared to the U.S., Germany treats its immigrants well Plus: Macs need to be popular, hello, for Apple to survive; Newt the adulterer/Newt the hero
    Letters to the editor January 25, 2000

  • "Rear Window"

    James Stewart loves watching the defectives in Hitchcock's restored peeping-tom thriller.
    By Charles Taylor January 21, 2000

  • Blue Glow

    Salon's TV picks for
    Monday, Nov. 1, 1999
    By Joyce Millman November 1, 1999

  • Letters to the Editor

    The problem with President "Bulworth"; even Alfred Hitchcock wasn't perfect; don't use children as an emotional crutch!
    Letters to the Editor August 20, 1999

  • The Savage id

    Camille Paglia talks about why Hitchcock has more to do with Madonna than he does with pomo theorists.
    By Michael Sragow August 13, 1999

  • Master of imperfection

    Hitchcock may have been a master of many things, but his goofy endings were like a dead cockroach found at the bottom of a near-perfect cinematic sundae.
    By Steve Burgess August 13, 1999

  • All in the family

    Patricia Hitchcock O'Connell recalls working with her father, Alfred, on "Strangers on a Train" and "Psycho."
    By Michael Sragow August 13, 1999

  • Lights, cameo, action!

    Alfred Hitchcock's first rule of directing was to treat actors like cattle -- and even in his own cameos, he was no sacred cow.
    By Sarah Vowell August 11, 1999

  • Moral majority

    The American people acquitted Clinton long ago.
    By Charles Taylor February 13, 1999
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