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When we think of Alfred Hitchcock,

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we think of the big, successful
American movies he made

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later in his career -
Rear Window, Vertigo, The Birds

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and of course, Psycho.

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But this son of a greengrocer

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was raised in Leytonstone,
in the East End of London,

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which coincidentally is where I spent
my childhood.

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He spent the first 40 years
of his life making movies in London.

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I wanted to find out to what extent
this Hollywood legend,

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this master of cinema,
the most famous director

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in the history of movies,
is actually made in Britain.

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How do you do?
I am Alfred Hitchcock.

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Alfred Hitchcock is unique
in cinema history,

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in that his career began in the era
of silent films,

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he consolidated his work
during the early talkies,

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then went on to create masterpieces
during the golden age of Hollywood.

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Even today, his influence, his style,
his ideas can be found everywhere.

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Thanks to him, everyone knows what
'vertigo' means.

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Vertigo - a feeling of
dizziness, a swimming in the head.

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And because of him,
birds have a terrible reputation.

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They're coming. They're coming!

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I deal in nightmares.

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Although his films were designed
to be popular with a broad audience,

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there was a darkness to them
I've always found fascinating.

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Beneath the surface

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he was always interested in
the more sinister side of life.

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The best thing about Hitchcock is
how much he hates the police,

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which is what I look for
in any film-maker.

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Hitchcock stands out

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as one of the most successful
film directors of all time,

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and his personality
is almost as famous as his movies.

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# Bom, bom, bom, bom, bom-bom #

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In total, he made 53 feature films,

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but 23 of those were made
before he went to America.

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I'd like to take a look at
those movies

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and at Hitchcock's life in Britain
to see where it all started.

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The French say
the early English period

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is quite different from
the American period.

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Where better to start than my
and Alfred's old tube station?

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I used to walk down this underpass
every day

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on the way to school
for about 12 years.

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It didn't look like this.

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It was the same,
but had posters everywhere.

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That was the big department store
here,

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the fancy one you'd go to
for big Christmas presents

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or when you wanted to buy furniture.

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We didn't get a lot from there.

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It was the destination place,
an incredible building.

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I bet that was here
when Hitchcock lived here.

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They knocked it down
in the late '60s.

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It's great to see that sign.
It's great to be back here.

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Leytonstone has commemorated
its most famous son

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in a series of mosaics.

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Walking down here gives just a hint
of what this local hero achieved.

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Beautiful, isn't it? Look at that.

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Really nice.

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To make over 50 films in a career

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is a feat that not many other
directors have come close to.

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They've chosen well.

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They've chosen key moments

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that didn't necessarily happen
in the movie, but sum up the film.

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That is the essence of Birds,
right there.

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Look at this.

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Have you got a tissue?

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I want to get rid of this chewing gum
on his nose. Very disrespectful.

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On Vertigo.

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That's Jimmy Stewart.
You can't leave a bit of...

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There. Get that?

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There you are. That's better.

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Can't have chewing gum
on James Stewart's nose!

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Leytonstone yout', eh?

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The only real difference,
apart from the mosaics,

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was the fact that there used to be
movie posters all the way down here.

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On the days
they replaced the posters,

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that was how we'd know
what was coming up.

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It was so exciting.

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This is The Skin Game from 1932.

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These are the movies
I want to find out about.

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These films formed the foundation
of Hitchcock's career,

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when he was living, working,
making movies in London.

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These were hits. That's what
helped him become the master.

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That's what people have
forgotten about, which is a shame.

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With so many films to choose from,
it's hard to know where to start.

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First, I want to know
what led an East End grocer's son

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into the fledgling film industry
in the first place.

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I suppose it must have all started
when I was in my mother's arms

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at the age of six months,
and she said to me, 'Boo!'

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Leytonstone High Road 1899,
where Alfred Hitchcock was born

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above his father's
greengrocer's shop.

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Boo! (LAUGHS)

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Hitchcock's childhood
was part of his legend.

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Whenever he talked about his time
in the East End,

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he'd cite experiences from his youth

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which he felt explained
how his outlook developed.

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He described an encounter
with a grotesque auntie

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in his cot as being one of the most
horrible experiences of his life.

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I remember the first time
I became aware of Alfred Hitchcock.

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It's when Psycho was
going to be shown on TV.

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That's the house I lived in
all my childhood.

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My bedroom upstairs,
I shared with four brothers.

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Downstairs, we had the television.

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We were told we couldn't see this.
It was too scary for children.

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I decided I knew better. When my
parents, my brothers were asleep,

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I crept out of bed and watched it
on my own in the dark -

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cos I didn't want anyone to know -
on our black-and-white television.

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Scared the life out of me.

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I'd like to say to my parents,
you were right. I'm sorry.

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I shouldn't have done that,
but part of me is glad I did.

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Fear was a big part of Hitchcock's
life and early development.

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He loved to tell the famous story,
which he repeated

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to the extent people questioned
whether it happened.

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You've given a lot of audiences
shocks sitting in the stalls.

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You frightened me to death
with Psycho.

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What frightens you?
Policemen.

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His father gave him a note

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and told him to take it
to the police station.

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The young Hitchcock did this
and was locked in a cell

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for a few minutes, or longer,

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depending on who
he told the story to.

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The policeman let him out and said,

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'This is what we do
to naughty boys.'

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That's why I won't drive a car.

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If I don't drive a car,
I can't get a ticket.

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I can't bear the suspense.

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I'm really quite distressed
about it.

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Hitchcock was the first director
to become a celebrity.

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As such,
he gave hundreds of interviews,

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often repeating the same stories
from childhood.

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Although I enjoy them,
I've come to the conclusion

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that some should be taken
with a pinch of salt.

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Stories he told were what
journalists wanted to hear.

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They're all terribly convenient,
terribly well constructed.

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They're part of a narrative
that fits the persona

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he's invented for himself.

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If there's a pinch of salt
to be taken

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with stories
from his early childhood,

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there's no doubt that adolescence
was tricky for Alfred.

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1914 was the beginning
of the First World War.

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It was also the year
in which he got his first job

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at the Henley Telegraph Company,
summer 1914.

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Soon after, his father died,

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which must have had a profound
effect on the young Hitchcock.

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Hitchcock also attributed
the First World War

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as giving him his first
real experience of true fear.

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We think about the Blitz and
the terror of bombing over London,

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but during the First World War,
London was being bombed.

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This was a new, shocking experience
for the population.

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Hitchcock painted vivid pictures

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of what happened
during some of these raids.

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He talked about his mother
cowering under the table.

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Young Alfred found refuge in books
and theatre,

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as well as the latest form
of entertainment - cinema.

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As a child, I was a great
first-nighter of the theatre -

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I used to go alone -
and also to the movies.

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It was obvious that

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what interested the young Hitch
was storytelling.

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He liked the middle-brow
popular fiction of the period -

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authors like John Buchan,
who wrote The Thirty-Nine Steps,

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Arthur Conan Doyle,

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Mrs Belloc Lowndes, who wrote
a novel called The Lodger,

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that would be very important
in Hitchcock's career.

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Even as a young man, Hitchcock knew
he wanted to work in film.

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I'm standing on the site of what was
Famous Players-Lasky movie studios

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that became the Gainsborough studios.

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Hitchcock got his first job
working for them at 20,

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designing the inter-titles

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that appeared on screen
with silent movies,

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the same silent movies he would be
directing in five years.

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He ends up as an assistant director
to one of the big directors there,

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a man called Graham Cutts.

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He becomes the secret power
behind Graham Cutts's throne.

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Graham Cutts is a womanising,
erratic figure.

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He begins to rely upon Hitchcock,

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so slowly,
the servant becomes the master.

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According to legend,
you became a director

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because the director
you'd been assisting

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would no longer work with you.
Is that fair?

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I don't think he'd no longer
work with me.

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He didn't want me to work with him.

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In some ways, you were
breaking into his territory?

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I not only broke into his territory,

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I gave him the shots
and where they should be taken.

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I built the set in such a way,

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he couldn't take them
from any other angle.

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There were many people Hitchcock
worked with time and again -

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actors, cinematographers, composers.

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But there was only one constant
in his career - his wife Alma.

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He married Alma Reville in 1926,

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and she became
his closest collaborator,

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credited with working with him
on 22 movies

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and informally assisting
on many more.

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Hitchcock was a big star director
from the very early years.

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He would have been surrounded by
people

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who wouldn't dare tell him
what the truth was.

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She was the only person
who was honest with him.

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Hitch and Alma settled down
to married life in Kensington,

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with a weekend retreat in Surrey.

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In 1928, their adored daughter Pat
was born,

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to give Hitch a happy home life to
add to the burgeoning film career.

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His first film as a director
was The Pleasure Garden.

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Even there, you see the classic
Hitchcock themes emerging -

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voyeurism, betrayal and of course,
murder.

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But it didn't take long for Hitchcock
to deliver a film

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which is almost a blueprint

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for what would become
the classic Hitchcock movie.

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Hitch's third picture, The Lodger,

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was considered even at the time to be
a masterpiece of British film-making

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and established Hitchcock as the top
British director at the age of 28.

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The Lodger is
a Jack The Ripper-like story

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about a killer lurking in a sinister,
foggy London,

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murdering curly-headed blondes.

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The lodger is played by Ivor Novello,

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a musical idol
and heart-throb of the time.

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He lodges with a family

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in a house at the heart of where
the murders are happening,

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and the strange character is quickly
suspected of being the killer.

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Hitch hints at his guilt
throughout the film,

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but the lodger is our first example
of a favourite Hitchcock character -

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a man wrongly accused.

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There are all kinds of ideas
in The Lodger

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that Hitchcock would return to
time and again.

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There is the blonde in peril.

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There is the figure
of the accused man

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who may or may not be guilty,
but who is living in a guilty way.

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You also get that interest in
the moment of murder.

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When you watch a film like The Lodger
today, some of it seems stagey.

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But even now you can sense

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how innovative and bold
it seemed to that audience.

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I get the feeling that this was
a modern film-maker

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working at the cutting edge
of what was possible in cinema.

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It's also our chance to see the first
of Hitchcock's legendary cameos,

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even if it is just
the back of the great man's head.

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Incidentally,
when I had finished The Lodger,

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it was seen by the distributors,

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who thought it was so bad
that it shouldn't be shown.

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It stayed on the shelf
for two or three months.

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They said,
'We have an investment in this.

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We'd better look at it again.'

239
00:13:48,280 --> 00:13:50,680
They finally agreed to show it.

240
00:13:50,680 --> 00:13:52,320
It was acclaimed

241
00:13:52,320 --> 00:13:55,880
as the greatest British film
made to that period.

242
00:13:55,880 --> 00:13:58,080
The Lodger's box-office success

243
00:13:58,080 --> 00:14:02,560
marked Alfred Hitchcock as
the British director to watch,

244
00:14:02,560 --> 00:14:05,680
and of course,
it was just the beginning.

245
00:14:22,000 --> 00:14:24,320
I've lived in London all my life,

246
00:14:24,320 --> 00:14:27,480
and one of the exciting things
about driving round

247
00:14:27,480 --> 00:14:29,040
isn't just being in the heart

248
00:14:29,040 --> 00:14:31,360
of one of the most iconic
cities in the world,

249
00:14:31,360 --> 00:14:36,760
it's going past locations I recognise
from some of my favourite movies.

250
00:14:36,760 --> 00:14:41,200
Of course, that includes a lot
of Hitchcock's movies.

251
00:14:41,200 --> 00:14:46,080
Like any director, a lot of his
movies are shot on sound stages.

252
00:14:46,080 --> 00:14:49,760
But if you're working in a city
as vibrant as this

253
00:14:49,760 --> 00:14:51,640
and setting your films here,

254
00:14:51,640 --> 00:14:54,920
you would be crazy not to
make the most of the locations.

255
00:14:54,920 --> 00:14:58,600
The excitement I feel
watching those early movies

256
00:14:58,600 --> 00:15:01,480
and seeing not just the beauty
of London

257
00:15:01,480 --> 00:15:06,200
but London as it was and no longer
is, adds an extra something.

258
00:15:06,200 --> 00:15:08,600
These are the buildings where
murders take place,

259
00:15:08,600 --> 00:15:11,080
the streets killers walked,
where they were chased -

260
00:15:11,080 --> 00:15:13,720
those long, tense chase sequences.

261
00:15:20,680 --> 00:15:24,920
You've got the buses, one of which
has that long sequence

262
00:15:24,920 --> 00:15:29,800
where the little boy is carrying
the can of film with a bomb in it.

263
00:15:29,800 --> 00:15:33,360
I don't to spoil it for anyone,
but it does go off.

264
00:15:36,560 --> 00:15:40,360
Piccadilly Circus
is virtually unrecognisable

265
00:15:40,360 --> 00:15:44,040
when you look at the Piccadilly
Circus used for that key scene

266
00:15:44,040 --> 00:15:46,600
in Blackmail,
when the woman is walking home

267
00:15:46,600 --> 00:15:51,160
after murdering the man who attempted
to have his way with her.

268
00:15:51,160 --> 00:15:56,240
There's a shot of the neon, which
must have been an incredible thing.

269
00:15:56,240 --> 00:15:58,400
It's still exciting for tourists now.

270
00:15:58,400 --> 00:16:01,720
Hitchcock does something
which must have been so bold -

271
00:16:01,720 --> 00:16:05,000
you see the flashing
of a cocktail shaker,

272
00:16:05,000 --> 00:16:09,600
then he dissolves to a knife being
stabbed down into the victim.

273
00:16:09,600 --> 00:16:14,440
That's the woman's troubled,
guilt-ridden thought coming out.

274
00:16:14,440 --> 00:16:17,160
He obviously had a love of the city

275
00:16:17,160 --> 00:16:20,840
and a love of this place being
an iconic backdrop

276
00:16:20,840 --> 00:16:25,840
that people all over the world wanted
to see. He used it brilliantly.

277
00:16:27,280 --> 00:16:32,280
At the age of just 28, Hitch was
in the driving seat as a director.

278
00:16:34,240 --> 00:16:38,160
It's as if Hitchcock used
the British film industry

279
00:16:38,160 --> 00:16:40,400
as his personal film school.

280
00:16:40,400 --> 00:16:43,040
The ten silent films he made
over the next ten years

281
00:16:43,040 --> 00:16:46,040
allowed him to develop and refine
his technique,

282
00:16:46,040 --> 00:16:48,720
the technique he took to Hollywood.

283
00:16:48,720 --> 00:16:51,880
In Hitchcock's hands,
the camera gained a new life.

284
00:16:51,880 --> 00:16:54,240
Its movement and changing perspective

285
00:16:54,240 --> 00:16:56,600
brought a new way of seeing things
to his films.

286
00:16:56,600 --> 00:17:00,280
He exposed his audience to
the full potential of the medium.

287
00:17:00,280 --> 00:17:05,320
To Hitch, cinema was so much more
than just a way to record theatre.

288
00:17:05,320 --> 00:17:08,960
Hitchcock absorbed a lot of
influences from European cinema,

289
00:17:08,960 --> 00:17:12,800
particularly Russian and German
cinema. He went to Berlin.

290
00:17:12,800 --> 00:17:16,400
He immersed himself in
those expressionist techniques.

291
00:17:16,400 --> 00:17:19,280
He was obsessed with cinema.
He thought cinematically.

292
00:17:19,280 --> 00:17:21,880
He lived, breathed and slept cinema.

293
00:17:21,880 --> 00:17:26,920
He was keen to always insert these
incredible Hitchcock touches

294
00:17:26,920 --> 00:17:29,800
into his films, clever visual tricks

295
00:17:29,800 --> 00:17:32,880
that the press would pick up on
and talk about.

296
00:17:32,880 --> 00:17:35,560
This helped raise his status
and profile

297
00:17:35,560 --> 00:17:38,640
amongst British directors
of the time.

298
00:17:38,640 --> 00:17:42,120
The language of the camera

299
00:17:42,120 --> 00:17:46,160
is the same as the language
of the writer.

300
00:17:46,160 --> 00:17:48,120
He called it pure cinema -

301
00:17:48,120 --> 00:17:51,520
unleashing the camera's
full potential to tell the story

302
00:17:51,520 --> 00:17:53,880
and manipulate
the audience's emotions.

303
00:17:53,880 --> 00:17:56,520
And no-one did it better than Hitch.

304
00:17:59,920 --> 00:18:03,080
I wanted a director's perspective
on Hitch,

305
00:18:03,080 --> 00:18:07,160
so I sought out fellow Hitchcock fan,
Richard Ayoade.

306
00:18:07,160 --> 00:18:10,400
Take a seat.
I've got popcorn in case we fancy it.

307
00:18:10,400 --> 00:18:13,600
Thank you for finding time
to talk to me.

308
00:18:13,600 --> 00:18:17,200
I admire you as a film-maker.
You're very kind, and wrong.

309
00:18:17,200 --> 00:18:20,160
No.
And I know you're a fan of Hitchcock.

310
00:18:20,160 --> 00:18:21,720
I am, yes.

311
00:18:21,720 --> 00:18:27,360
What are the things about Hitchcock's
work or style or talent

312
00:18:27,360 --> 00:18:30,960
you most admire or strike you
as being Hitchcockian?

313
00:18:30,960 --> 00:18:34,920
I can't think of many other
directors

314
00:18:34,920 --> 00:18:37,560
who are as memorable as him

315
00:18:37,560 --> 00:18:41,000
in terms of the number of sequences
from films

316
00:18:41,000 --> 00:18:44,520
and camera movements
and how inventive he was.

317
00:18:49,000 --> 00:18:52,920
Also, he's one of the most
entertaining film-makers

318
00:18:52,920 --> 00:18:54,360
there's ever been.

319
00:18:58,960 --> 00:19:02,640
What I love so much about it
is the subjectivity.

320
00:19:02,640 --> 00:19:05,640
He was amazing at
subjective camerawork.

321
00:19:05,640 --> 00:19:10,920
His idea of pure cinema, it was
essentially - you show something,

322
00:19:10,920 --> 00:19:15,040
you show someone watch it,
you see their reaction.

323
00:19:16,400 --> 00:19:22,040
He's the best director to learn from
in terms of how to make films,

324
00:19:22,040 --> 00:19:26,800
in that he really is a masterclass
in the grammar of film-making.

325
00:19:31,640 --> 00:19:35,040
One of the things I love about
Hitchcock's early movies

326
00:19:35,040 --> 00:19:37,160
is the playfulness and inventiveness.

327
00:19:37,160 --> 00:19:40,320
Nowhere is that more apparent than
in his use of special effects,

328
00:19:40,320 --> 00:19:43,400
using techniques
very much in their infancy then.

329
00:19:43,400 --> 00:19:46,560
I'm talking to a modern
special-effects supervisor,

330
00:19:46,560 --> 00:19:51,160
Mike Tucker, to tell me how Hitchcock
did what he did back then.

331
00:19:57,760 --> 00:19:59,600
Hi, Mike.
Hello there.

332
00:19:59,600 --> 00:20:03,440
I'm hoping you're a Hitchcock fan.
Indeed.

333
00:20:03,440 --> 00:20:05,960
Tell me about the early techniques
he used.

334
00:20:05,960 --> 00:20:08,280
You're aware of them
when they're happening,

335
00:20:08,280 --> 00:20:11,800
which maybe wasn't the intention. I
guess it was because they were new.

336
00:20:11,800 --> 00:20:15,400
They don't have the option
of post-production

337
00:20:15,400 --> 00:20:17,480
the way we take for granted.

338
00:20:17,480 --> 00:20:19,200
There was no green screens.

339
00:20:19,200 --> 00:20:21,440
If you're doing something
that's a big set

340
00:20:21,440 --> 00:20:25,360
or you want to put people
into a set,

341
00:20:25,360 --> 00:20:27,440
you have to do it in camera.

342
00:20:27,440 --> 00:20:29,920
It means using an awful lot
of mirrors.

343
00:20:29,920 --> 00:20:33,640
This is a classic mirror technique
called the Shufton process.

344
00:20:33,640 --> 00:20:37,200
Shufton?
What they're doing here is...

345
00:20:39,320 --> 00:20:43,240
..you place the mirror at 45 degrees
to the camera.

346
00:20:43,240 --> 00:20:47,440
So you're reflecting your model.

347
00:20:47,440 --> 00:20:51,520
The camera is seeing the mirror,
which is seeing that.

348
00:20:51,520 --> 00:20:56,280
But what you've done is,
in a predetermined position,

349
00:20:56,280 --> 00:21:00,520
you've scraped the silvering
off the back of the mirror.

350
00:21:00,520 --> 00:21:03,320
What you're left with
is clear glass.

351
00:21:03,320 --> 00:21:04,880
That's got an angle at the bottom

352
00:21:04,880 --> 00:21:07,600
because the doorway is supposedly
at an angle? Right.

353
00:21:07,600 --> 00:21:09,520
You've made it harder for yourself?
Yeah.

354
00:21:09,520 --> 00:21:11,520
We've got the model there.

355
00:21:11,520 --> 00:21:13,800
Which is being reflected
in this mirror.

356
00:21:13,800 --> 00:21:18,440
It's seeing through to a background
which you can put live action in.

357
00:21:18,440 --> 00:21:20,200
This set, we can anything with.

358
00:21:20,200 --> 00:21:23,240
The advantage would be,
you're doing it in the studio.

359
00:21:23,240 --> 00:21:25,120
It would cost a fortune.

360
00:21:25,120 --> 00:21:28,560
If you replaced the model
with a projection screen

361
00:21:28,560 --> 00:21:34,160
and project onto that screen
previously shot live action,

362
00:21:34,160 --> 00:21:38,320
you can combine actors into stuff
that has been shot before.

363
00:21:38,320 --> 00:21:41,000
A crowd scene or an action sequence.

364
00:21:41,000 --> 00:21:45,560
An action sequence that was too
dangerous to have an actor there.

365
00:21:45,560 --> 00:21:48,440
I don't know that Hitchcock,
like many great directors,

366
00:21:48,440 --> 00:21:51,680
was bothered about the safety
of actors. It was a cost thing.

367
00:21:51,680 --> 00:21:54,920
How widely used was it
when Hitchcock used it?

368
00:21:54,920 --> 00:21:58,520
I know he used it in Blackmail.
Very early, 1929.

369
00:21:58,520 --> 00:22:01,560
He used it when
they run into the British Museum.

370
00:22:01,560 --> 00:22:04,760
He didn't have permission
to shoot in the British Museum.

371
00:22:04,760 --> 00:22:06,480
He faked it with this.

372
00:22:06,480 --> 00:22:09,520
It's the statue
reflected into that shot.

373
00:22:09,520 --> 00:22:11,960
How surprising would this be
for an audience then?

374
00:22:11,960 --> 00:22:16,400
Now, even if we don't know how it's
done, we're aware of special effects.

375
00:22:16,400 --> 00:22:20,040
It was the magician's art back then.

376
00:22:20,040 --> 00:22:24,640
People must have been going, 'How
on earth did they get that shot?'

377
00:22:24,640 --> 00:22:27,600
That's lovely.
We've got the mirror in place.

378
00:22:27,600 --> 00:22:29,080
Yeah.
There's the model.

379
00:22:29,080 --> 00:22:31,440
I'm going to ask you to go round.

380
00:22:31,440 --> 00:22:35,480
This could be your big break
in movies, you know that?

381
00:22:35,480 --> 00:22:37,640
I know that.
OK, stop there.

382
00:22:37,640 --> 00:22:39,520
I'll cue you in.

383
00:22:39,520 --> 00:22:41,680
I didn't say go yet.

384
00:22:41,680 --> 00:22:44,240
Back we go.
Actors! You ready?

385
00:22:44,240 --> 00:22:47,320
Yeah.
That isn't a cue, by the way.

386
00:22:47,320 --> 00:22:49,840
OK. And... action!

387
00:22:53,640 --> 00:22:55,920
Then vome towards me.

388
00:22:55,920 --> 00:22:58,040
You're very, very sad.

389
00:22:58,040 --> 00:23:01,680
The effect will probably be blown
by about now.

390
00:23:01,680 --> 00:23:04,040
You're to big.
That's it.

391
00:23:04,040 --> 00:23:06,400
So it only really works there?

392
00:23:06,400 --> 00:23:10,560
There's an optimum position
where the scale of the actor

393
00:23:10,560 --> 00:23:12,840
is in scale proportionately
with the model.

394
00:23:12,840 --> 00:23:15,280
The statue looks bigger than you,

395
00:23:15,280 --> 00:23:17,160
but you walk forward
and we lose that.

396
00:23:17,160 --> 00:23:18,720
You see how it's working.

397
00:23:18,720 --> 00:23:21,240
On holiday,
I might take this stuff with me

398
00:23:21,240 --> 00:23:23,360
so I can put the kids
in a different location.

399
00:23:23,360 --> 00:23:25,200
Or just don't take them on holiday.

400
00:23:25,200 --> 00:23:29,320
Take the photographs at home,
lock them in, crack the window,

401
00:23:29,320 --> 00:23:30,880
go on my own.

402
00:23:30,880 --> 00:23:35,280
You may go now. If I were you, I'd
work on my award-acceptance speech.

403
00:23:35,280 --> 00:23:36,960
That was exceptional.

404
00:23:41,320 --> 00:23:44,200
It was clear
that the future of movies

405
00:23:44,200 --> 00:23:46,200
would include sound
as well as pictures,

406
00:23:46,200 --> 00:23:50,440
and even though he'd begun work
on his latest silent, Blackmail,

407
00:23:50,440 --> 00:23:53,360
Hitchcock was more than up to
the challenge of transforming it

408
00:23:53,360 --> 00:23:55,560
into Britain's first talkie.

409
00:23:55,560 --> 00:23:57,080
There.
Hooray!

410
00:23:57,080 --> 00:24:00,960
All ready for the academy.
I'll go and get those drinks.

411
00:24:00,960 --> 00:24:02,560
Right you are.

412
00:24:02,560 --> 00:24:06,320
It's the tale of a blonde in peril,
played by Czech star Anny Ondra,

413
00:24:06,320 --> 00:24:08,760
who kills her potential rapist
in self-defence,

414
00:24:08,760 --> 00:24:10,640
and is then blackmailed.

415
00:24:10,640 --> 00:24:13,200
She's one of Hitchcock's
more complicated heroes -

416
00:24:13,200 --> 00:24:15,000
innocent, yet guilty.

417
00:24:15,000 --> 00:24:18,280
She's killed a man,
but only to save herself.

418
00:24:18,280 --> 00:24:21,960
Blackmail is a landmark film
in British cinema.

419
00:24:21,960 --> 00:24:25,920
It exists on this borderline
between the silents and the talkies.

420
00:24:25,920 --> 00:24:30,200
There's been a murder last night,
round the corner.

421
00:24:30,200 --> 00:24:33,560
They tell me the police
are round there now.

422
00:24:33,560 --> 00:24:37,240
Hitchcock, who'd always been
experimental and inventive,

423
00:24:37,240 --> 00:24:39,080
saw this as an opportunity

424
00:24:39,080 --> 00:24:42,200
to take his storytelling
in a new direction.

425
00:24:42,200 --> 00:24:45,920
What's wrong, Alice? You don't look
very chirpy this morning.

426
00:24:45,920 --> 00:24:49,320
You look a little peaky, I must say.
Dad, Alice - breakfast.

427
00:24:49,320 --> 00:24:52,480
While other directors
who made talkies,

428
00:24:52,480 --> 00:24:57,360
even a few years after this,
struggled with the medium of sound,

429
00:24:57,360 --> 00:25:00,360
made it in some way seem like
a step backwards,

430
00:25:00,360 --> 00:25:03,640
Hitchcock is absolutely sensitive
to its possibilities

431
00:25:03,640 --> 00:25:06,360
from the first moment
he starts using it.

432
00:25:06,360 --> 00:25:09,080
It's one thing to buy chocolates
out of hours,

433
00:25:09,080 --> 00:25:12,040
but quite another
to stick a knife into a gentleman.

434
00:25:12,040 --> 00:25:14,640
The fact that
within the first sound film,

435
00:25:14,640 --> 00:25:17,320
he was already experimenting
with sound

436
00:25:17,320 --> 00:25:20,480
to trigger a subconscious reaction
is amazing.

437
00:25:20,480 --> 00:25:22,040
Knives.

438
00:25:22,040 --> 00:25:23,920
No, knives is not right.

439
00:25:23,920 --> 00:25:27,840
I must say, that's what I think
and that's what I feel.

440
00:25:27,840 --> 00:25:31,720
Whatever the provocation,
I could never use a knife.

441
00:25:31,720 --> 00:25:35,360
Mind you, a knife
is a difficult thing to handle.

442
00:25:35,360 --> 00:25:37,240
I mean, any knife.

443
00:25:37,240 --> 00:25:39,600
(VOICE FADES AWAY) ..knife...

444
00:25:39,600 --> 00:25:41,160
..knife...

445
00:25:41,160 --> 00:25:45,080
Like the moving camera,
we take sound on film for granted,

446
00:25:45,080 --> 00:25:49,400
even though providing sound effects
has become a massive industry.

447
00:25:49,400 --> 00:25:52,800
Back in 1929,
everything you wanted on a picture

448
00:25:52,800 --> 00:25:54,680
had to be record at the same time.

449
00:25:54,680 --> 00:25:58,160
If you wanted a couple talking in the
background while an orchestra played,

450
00:25:58,160 --> 00:25:59,680
you had to capture it for real.

451
00:25:59,680 --> 00:26:01,680
Frank, you...

452
00:26:01,680 --> 00:26:03,960
..you can't do this.

453
00:26:03,960 --> 00:26:10,240
The main problem concerned the fact
that I had a Czech film star

454
00:26:10,240 --> 00:26:13,000
playing the part of an English girl.

455
00:26:13,000 --> 00:26:17,040
I had a young actress, Joan Barry,
sitting on the side

456
00:26:17,040 --> 00:26:19,000
with her own microphone

457
00:26:19,000 --> 00:26:22,600
while Miss Ondra on the set,
playing her scene,

458
00:26:22,600 --> 00:26:24,400
just mouthed her words.

459
00:26:24,400 --> 00:26:28,240
The girl on the side
had to follow her very closely.

460
00:26:28,240 --> 00:26:30,560
This was a brilliant achievement,

461
00:26:30,560 --> 00:26:33,720
and Anny Ondra's sound test gave us
the first glimpse

462
00:26:33,720 --> 00:26:36,080
of Hitch the director at work.

463
00:26:36,080 --> 00:26:38,960
You asked me
to let you hear your voice

464
00:26:38,960 --> 00:26:41,560
on the talking picture.
(LAUGHS)

465
00:26:41,560 --> 00:26:44,640
But Hitch, you mustn't do that.
Why not?

466
00:26:44,640 --> 00:26:46,760
Because I can't speak well.

467
00:26:46,760 --> 00:26:50,080
Do you realise the squad van will
be here any moment?

468
00:26:50,080 --> 00:26:52,680
Really?
God, I'm terribly frightened.

469
00:26:52,680 --> 00:26:55,000
Why, have you been a bad woman?

470
00:26:55,000 --> 00:26:56,800
Not just bad like this.

471
00:26:56,800 --> 00:27:00,000
But you've slept with men?
Oh, no! (LAUGHS)

472
00:27:00,000 --> 00:27:02,040
Come here, stand in your place,

473
00:27:02,040 --> 00:27:04,440
otherwise it will not
come out right,

474
00:27:04,440 --> 00:27:06,800
as the girl said to the soldier.

475
00:27:06,800 --> 00:27:08,320
That's enough.

476
00:27:08,320 --> 00:27:10,440
Pretty saucy stuff for the time,

477
00:27:10,440 --> 00:27:12,880
but it didn't appear
to get him into trouble.

478
00:27:12,880 --> 00:27:17,360
What is does reveal is a man
with a wicked and eccentric wit.

479
00:27:17,360 --> 00:27:20,360
Hitchcock was so notorious
for playing practical jokes

480
00:27:20,360 --> 00:27:23,080
in the studios that
when he was at Gainsborough,

481
00:27:23,080 --> 00:27:26,280
he was disciplined for it,
hauled up and told

482
00:27:26,280 --> 00:27:29,800
this wasn't the sort of thing
a director should do.

483
00:27:29,800 --> 00:27:32,040
His fellow director Val Guest said
that

484
00:27:32,040 --> 00:27:36,480
Hitchcock once asked him to lend him
a tenner, which he did.

485
00:27:36,480 --> 00:27:40,560
He paid him back in brass farthings
- over 9,500 coins -

486
00:27:40,560 --> 00:27:44,160
that a pageboy from the studio
dragged into his dressing room.

487
00:27:44,160 --> 00:27:48,480
When people think of Hitchcock, they
think of this master of suspense,

488
00:27:48,480 --> 00:27:51,160
the more visceral moments
of later movies.

489
00:27:51,160 --> 00:27:55,720
But when you watch early films, I'm
struck by the amount of comedy in it.

490
00:27:55,720 --> 00:28:00,560
He was of the mind that you needed
these moments of humour

491
00:28:00,560 --> 00:28:05,040
to lighten things between the more
suspenseful sequences.

492
00:28:05,040 --> 00:28:08,680
But they're not really the things
I...

493
00:28:08,680 --> 00:28:11,800
If there was a reel
of all of them in a row,

494
00:28:11,800 --> 00:28:15,040
I probably wouldn't sit down
to watch them.

495
00:28:18,040 --> 00:28:22,640
Hitchcock's macabre sense of humour
is absolutely British.

496
00:28:22,640 --> 00:28:26,680
It's a vein that runs thickly
through British culture -

497
00:28:26,680 --> 00:28:30,040
that juxtaposition of murder
and comedy.

498
00:28:34,560 --> 00:28:36,000
Strangled.

499
00:28:37,360 --> 00:28:39,080
Nice work.

500
00:28:39,080 --> 00:28:40,960
Neat, very neat.

501
00:28:40,960 --> 00:28:45,000
Someone very much did not want
we should speak to him.

502
00:28:45,000 --> 00:28:46,560
That's what it looks like.

503
00:28:46,560 --> 00:28:50,440
It's something he absorbed
from tabloid newspapers of the day -

504
00:28:50,440 --> 00:28:54,760
that lurid, lip-smacking interest.

505
00:28:54,760 --> 00:28:59,360
That's something that Hitchcock
really imports into cinema.

506
00:29:06,320 --> 00:29:10,400
One of my favourite sequences
in any Hitchcock movie

507
00:29:10,400 --> 00:29:14,720
is also my favourite sequence
from any thriller.

508
00:29:14,720 --> 00:29:18,760
He obviously liked it as well,
cos he remade the film -

509
00:29:18,760 --> 00:29:20,600
The Man Who Knew Too much.

510
00:29:22,280 --> 00:29:25,000
The Man Who Knew Too Much
is the story of a couple

511
00:29:25,000 --> 00:29:30,680
whose daughter is kidnapped
to stop them revealing a murder plot.

512
00:29:30,680 --> 00:29:33,760
They learn that an assassination will
take place

513
00:29:33,760 --> 00:29:36,120
at the precise moment
the cymbals clash

514
00:29:36,120 --> 00:29:38,600
during a concert
at the Royal Albert Hall.

515
00:29:38,600 --> 00:29:42,000
That's where one of the tensest
climactic sequences

516
00:29:42,000 --> 00:29:44,040
in modern cinema takes place.

517
00:29:44,040 --> 00:29:46,240
(WOMAN ON STAGE SINGS)

518
00:29:47,360 --> 00:29:51,800
We the audience know what's planned,
what going to happen.

519
00:29:51,800 --> 00:29:56,200
The blonde, of course, cos Hitchcock
loved blondes in his movies,

520
00:29:56,200 --> 00:29:58,800
she knows what's going to happen.

521
00:29:58,800 --> 00:30:03,320
Then tension grows and becomes almost
too much to bear.

522
00:30:09,000 --> 00:30:10,440
(SCREAMS)

523
00:30:12,800 --> 00:30:15,360
Sounds as if it went off all right.

524
00:30:15,360 --> 00:30:17,520
I hope so, for all our sakes.

525
00:30:17,520 --> 00:30:22,000
It was one of those sequences which
set the bar for other thrillers

526
00:30:22,000 --> 00:30:25,400
and wrote the book,
introduced the grammar,

527
00:30:25,400 --> 00:30:26,960
of those sequences,

528
00:30:26,960 --> 00:30:30,040
that's influenced anyone else
who's made a movie.

529
00:30:36,500 --> 00:30:40,420
Mr Hitchcock, why do you always
make mystery films?

530
00:30:40,420 --> 00:30:44,380
Life is a big mystery, isn't it?
It always has been.

531
00:30:44,380 --> 00:30:47,940
The 39 Steps is probably the most
enduring and celebrated

532
00:30:47,940 --> 00:30:50,260
of the films Hitchcock made
during the 1930s.

533
00:30:50,260 --> 00:30:53,420
Based on a novel by one of Hitch's
favourite writers, John Buchan,

534
00:30:53,420 --> 00:30:57,740
it contains many familiar elements -
a murder, a wrongly accused man,

535
00:30:57,740 --> 00:31:00,100
plenty of suspense,
a chase sequence or two,

536
00:31:00,100 --> 00:31:02,740
handcuffs and of course, a blonde.

537
00:31:05,380 --> 00:31:07,860
There he is.

538
00:31:07,860 --> 00:31:10,220
Hitch returns with one of his
favourite characters -

539
00:31:10,220 --> 00:31:12,740
the innocent man on the run.

540
00:31:12,740 --> 00:31:15,300
Accused of murder,
Richard Hanay escapes to Scotland,

541
00:31:15,300 --> 00:31:18,100
pursued by police
and a ruthless band of spies

542
00:31:18,100 --> 00:31:20,060
from an unnamed country.

543
00:31:20,060 --> 00:31:22,420
A key characteristic
of Hitchcock's films

544
00:31:22,420 --> 00:31:24,620
is the concept of the wrong man,

545
00:31:24,620 --> 00:31:27,980
the man wrongly accused of murder
or some other crime.

546
00:31:27,980 --> 00:31:31,860
You see it from the beginning
in films like The Lodger in 1926

547
00:31:31,860 --> 00:31:34,180
through to North By Northwest,

548
00:31:34,180 --> 00:31:37,260
where Cary Grant is suspected of
being a murderer.

549
00:31:37,260 --> 00:31:40,620
The 39 Steps, coming in the middle
of Hitchcock's career,

550
00:31:40,620 --> 00:31:43,860
is a quintessential film
in this respect.

551
00:31:43,860 --> 00:31:46,100
May I come home with you?

552
00:31:46,100 --> 00:31:48,140
What's the idea?

553
00:31:48,140 --> 00:31:50,620
Well, I'd like to.

554
00:31:50,620 --> 00:31:52,180
It's your funeral.

555
00:31:52,180 --> 00:31:56,780
I'm struck sometimes by
the modernness of some sequences.

556
00:31:56,780 --> 00:32:01,020
This is one of my favourite moments
in 39 Steps.

557
00:32:01,020 --> 00:32:04,100
How do you do?
We're all waiting for you.

558
00:32:04,100 --> 00:32:06,860
Pamela's gone to meet you. This way.

559
00:32:06,860 --> 00:32:10,860
Handcuffed,
he finds himself forced to speak

560
00:32:10,860 --> 00:32:13,820
on behalf of a soon-to-be
local politician,

561
00:32:13,820 --> 00:32:15,700
and wins over the crowd.

562
00:32:15,700 --> 00:32:18,460
Where everybody gets a square deal
and a sporting chance,

563
00:32:18,460 --> 00:32:20,540
where people try to help
and not hinder,

564
00:32:20,540 --> 00:32:25,780
a world from which suspicion and
cruelty and fear have been banished.

565
00:32:25,780 --> 00:32:30,860
That's the sort of world I want.
Is that the sort of world you want?

566
00:32:30,860 --> 00:32:35,780
It's a comic moment, an unexpected
moment, brilliantly modern.

567
00:32:35,780 --> 00:32:38,060
You see the echoes even today.

568
00:32:38,060 --> 00:32:42,260
It's one of the scenes in which he's
at his best and most charming.

569
00:32:42,260 --> 00:32:46,060
Scottish strangers.
The hardest kind of stranger.

570
00:32:46,060 --> 00:32:48,980
The toughest stranger of them all.
Toughest in the business.

571
00:32:48,980 --> 00:32:51,940
Yet the one person
we want to see him win over

572
00:32:51,940 --> 00:32:53,580
is resolutely against him.

573
00:32:53,580 --> 00:32:56,180
Tell him an enormously important
secret...

574
00:32:56,180 --> 00:33:00,060
That'll do. ..has been taken out
of this country by a foreign agent.

575
00:33:00,060 --> 00:33:02,620
I can't do anything
because of this fool of a detective.

576
00:33:02,620 --> 00:33:05,860
Has that penetrated?
To the funny bone. Tell me another.

577
00:33:05,860 --> 00:33:07,700
One of the best sequences
in his films

578
00:33:07,700 --> 00:33:10,820
is another great Hitchcock
dinner scene.

579
00:33:10,820 --> 00:33:14,300
Sanctify these bounteous mercies
to us miserable sinners.

580
00:33:14,300 --> 00:33:17,700
You see Robert Donat's character

581
00:33:17,700 --> 00:33:23,420
notice that he has the paper

582
00:33:23,420 --> 00:33:26,100
and that he's about to be revealed.

583
00:33:26,100 --> 00:33:30,140
Then she notices the paper,
and they exchange looks.

584
00:33:30,140 --> 00:33:34,340
Then John Laurie's character looks
up and thinks they're flirting.

585
00:33:34,340 --> 00:33:35,860
Then he goes out.

586
00:33:35,860 --> 00:33:38,460
I forgot go lock the barn.

587
00:33:38,460 --> 00:33:42,380
The camera goes with him,
then you see what he sees.

588
00:33:42,380 --> 00:33:45,660
You know they're talking about how
he's going to get away.

589
00:33:45,660 --> 00:33:47,700
He thinks that they're plotting.

590
00:33:47,700 --> 00:33:49,780
In a very short period of time,

591
00:33:49,780 --> 00:33:55,140
you see someone who knows exactly
where to put the camera.

592
00:33:55,140 --> 00:33:58,140
That's classic Hitchcock,

593
00:33:58,140 --> 00:34:01,860
in that we the audience know more
than the people on the screen.

594
00:34:01,860 --> 00:34:04,580
That was the thing
he was so good at -

595
00:34:04,580 --> 00:34:10,660
making you lean in and participate
in the action that's happening.

596
00:34:10,660 --> 00:34:12,620
What are the 39 Steps?

597
00:34:13,740 --> 00:34:17,300
Come on, answer up!
What are the 39 Steps?

598
00:34:17,300 --> 00:34:20,420
The 39 Steps is an organisation
of spies

599
00:34:20,420 --> 00:34:24,060
collecting information on behalf of
the Foreign Office...

600
00:34:24,060 --> 00:34:25,620
(GUNSHOT)

601
00:34:27,740 --> 00:34:33,780
Hitchcock was great at using
a comic counterpoint to everything.

602
00:34:33,780 --> 00:34:37,580
It's a funny scene even at the end
when it's tragic.

603
00:34:37,580 --> 00:34:40,740
You see someone go,
'Get the dancers on!'

604
00:34:40,740 --> 00:34:43,860
And the dancers are on
in the background.

605
00:34:43,860 --> 00:34:45,580
Then they hold hands.

606
00:34:45,580 --> 00:34:49,460
Yeah, and he's still got
the handcuffs on his hand.

607
00:34:49,460 --> 00:34:52,060
It's an incredibly complex shot.

608
00:34:52,060 --> 00:34:55,060
You're aware of that
because you're directing.

609
00:34:55,060 --> 00:34:58,340
I wasn't. I'm just aware of it
being a lovely moment.

610
00:34:58,340 --> 00:35:00,700
That's the real mastery.
Yeah.

611
00:35:00,700 --> 00:35:05,340
There's so much going on, yet it
didn't take me out of the moment.

612
00:35:11,540 --> 00:35:14,420
In 1939,
after 23 films as a director,

613
00:35:14,420 --> 00:35:17,100
Hitchcock moved with his family
to Hollywood

614
00:35:17,100 --> 00:35:19,220
to pursue his career there.

615
00:35:19,220 --> 00:35:23,100
Even though the British film industry
was more robust than today,

616
00:35:23,100 --> 00:35:27,980
it was clear that that's where
the future of popular cinema lay.

617
00:35:27,980 --> 00:35:32,820
By the late '30s, Hitchcock had
outgrown the British film industry,

618
00:35:32,820 --> 00:35:37,340
and the move to Hollywood offered
him resources and opportunities

619
00:35:37,340 --> 00:35:39,380
he couldn't get in Britain.

620
00:35:39,380 --> 00:35:42,500
He would have wonderful
studio technology,

621
00:35:42,500 --> 00:35:46,980
access to the biggest stars,
the best literary properties.

622
00:35:49,140 --> 00:35:54,380
Announcing the return of the most
glamorous motion picture ever made.

623
00:35:54,380 --> 00:35:56,420
How do you?

624
00:35:56,420 --> 00:35:59,380
His first Hollywood movie
was an instant smash.

625
00:35:59,380 --> 00:36:02,780
There is mystery, love and laughter
in Rebecca,

626
00:36:02,780 --> 00:36:07,620
the motion picture still unsurpassed
for suspenseful romance.

627
00:36:08,820 --> 00:36:13,060
It won producer David Selznick
the Oscar for Best Film.

628
00:36:13,060 --> 00:36:15,980
It was an explosive start
to this latest chapter

629
00:36:15,980 --> 00:36:19,180
in Hitch's legendary
film-making career.

630
00:36:19,180 --> 00:36:22,420
Hitchcock repaid his adoptive country
with a string of classic movies -

631
00:36:22,420 --> 00:36:26,820
Rear Window, Psycho,
To Catch A Thief, Vertigo, The Birds

632
00:36:26,820 --> 00:36:29,060
and Marnie, to name just a few.

633
00:36:31,460 --> 00:36:34,140
Hitch's fingerprints were
all over his movies.

634
00:36:34,140 --> 00:36:36,900
Tonally and thematically,
the films were all his.

635
00:36:36,900 --> 00:36:40,220
He was also becoming better known for
his cameo appearances.

636
00:36:40,220 --> 00:36:43,500
It was as if he began to suspect
he could be as big a star

637
00:36:43,500 --> 00:36:45,420
as the films themselves.

638
00:36:45,420 --> 00:36:48,860
Accordingly, he started using
his name as a marketing tool

639
00:36:48,860 --> 00:36:50,420
to sell the films.

640
00:36:50,420 --> 00:36:52,140
How do you do?

641
00:36:52,140 --> 00:36:53,940
I'm Alfred Hitchcock.

642
00:36:53,940 --> 00:36:57,260
I want you to know about my latest
motion picture

643
00:36:57,260 --> 00:36:59,780
which will be coming soon
to this theatre.

644
00:36:59,780 --> 00:37:01,580
It is called The Birds.

645
00:37:01,580 --> 00:37:04,500
For that reason,
we thought it would be appropriate

646
00:37:04,500 --> 00:37:08,380
if a bird informed you
about the details. Go ahead.

647
00:37:08,380 --> 00:37:10,820
When Hitchcock signed his autograph,

648
00:37:10,820 --> 00:37:14,300
you used to draw a caricature
of himself.

649
00:37:14,300 --> 00:37:16,540
That caricature became
his trademark.

650
00:37:16,540 --> 00:37:18,500
It's something we still know.

651
00:37:18,500 --> 00:37:22,460
He was very careful to look the same
wherever he went -

652
00:37:22,460 --> 00:37:26,260
that black suit, that black tie,
the famous walk.

653
00:37:26,260 --> 00:37:30,500
Hitchcock is aware of how marketable
he is personally.

654
00:37:30,500 --> 00:37:34,420
His name had been used
to sell his films since 1927.

655
00:37:34,420 --> 00:37:38,260
The idea of Alfred Hitchcock
is in everybody's heads.

656
00:37:38,260 --> 00:37:43,580
In that window on the second floor,
the single one in front,

657
00:37:43,580 --> 00:37:47,060
that's where the woman
was first seen.

658
00:37:48,140 --> 00:37:50,620
Let's go inside.

659
00:37:55,620 --> 00:38:00,940
As part of creating a brand
out of his own persona and skill,

660
00:38:00,940 --> 00:38:03,180
humour played a part as well.

661
00:38:03,180 --> 00:38:07,100
People knew there would be quirky,
Hitchcockian jokes in his films

662
00:38:07,100 --> 00:38:09,100
as there were in the trailers.

663
00:38:09,100 --> 00:38:13,500
He always spoke with great wit
when he discussed his movies,

664
00:38:13,500 --> 00:38:18,060
delivering those early sound bites -
memorable nuggets which were funny

665
00:38:18,060 --> 00:38:22,980
and often undercut the seriousness
of what he was doing on screen.

666
00:38:27,300 --> 00:38:30,900
Although most of the films he made
for the rest of his career

667
00:38:30,900 --> 00:38:33,260
would be shot in Hollywood
with American money,

668
00:38:33,260 --> 00:38:36,340
I still think of him as
a British director.

669
00:38:36,340 --> 00:38:37,900
He would use British actors,

670
00:38:37,900 --> 00:38:40,460
make films based on stories
by British writers

671
00:38:40,460 --> 00:38:44,340
and they would always be essentially
Hitchcockian.

672
00:38:44,340 --> 00:38:46,660
The Birds and Rebecca were
based on books

673
00:38:46,660 --> 00:38:49,220
by English writer Daphne Du Maurier.

674
00:38:49,220 --> 00:38:52,540
Marnie was also from an English novel
by author Winston Graham.

675
00:38:52,540 --> 00:38:55,060
It seems Hitchcock was happiest

676
00:38:55,060 --> 00:38:58,540
with source material
that came from Britain.

677
00:38:58,540 --> 00:39:00,100
With North By Northwest,

678
00:39:00,100 --> 00:39:02,860
Hitchcock was going to make
the ultimate Hitchcock film.

679
00:39:02,860 --> 00:39:07,140
Him and his writers decided to go
back to The 39 Steps as the model.

680
00:39:07,140 --> 00:39:09,900
I'm an advertising man,
not a red herring.

681
00:39:09,900 --> 00:39:12,700
I've got a job, a secretary,
a mother, two ex-wives

682
00:39:12,700 --> 00:39:15,100
and several bartenders
dependent upon me.

683
00:39:15,100 --> 00:39:18,380
I don't intend to disappoint them
by getting myself slightly killed.

684
00:39:18,380 --> 00:39:21,420
Cary Grant becomes a secret agent
against his will.

685
00:39:21,420 --> 00:39:23,980
The man on the run
in North By Northwest

686
00:39:23,980 --> 00:39:27,340
is the ghost of Robert Donat
in The 39 Steps.

687
00:39:27,340 --> 00:39:31,420
Those interests in
the psychological, in the chase,

688
00:39:31,420 --> 00:39:35,580
those things are refined
and developed in the American films,

689
00:39:35,580 --> 00:39:39,780
but they're rooted in what he was
doing in Britain in the '30s.

690
00:39:39,780 --> 00:39:41,620
At the height of his Hollywood
success,

691
00:39:41,620 --> 00:39:43,540
Hitchcock was an international brand,

692
00:39:43,540 --> 00:39:45,580
but Britain was never far
from his thoughts.

693
00:39:45,580 --> 00:39:47,220
For all his gratitude to America,

694
00:39:47,220 --> 00:39:50,860
recognition in his home country
mattered to him.

695
00:39:50,860 --> 00:39:52,460
Keep quiet, please.

696
00:39:52,460 --> 00:39:56,780
In 1971, he returned to Britain
for his penultimate movie.

697
00:39:56,780 --> 00:40:01,180
Hitchcock was now 72, and his status
as a box-office wizard

698
00:40:01,180 --> 00:40:03,060
was somewhat in decline.

699
00:40:03,060 --> 00:40:04,900
His last couple movies
had been flops.

700
00:40:04,900 --> 00:40:08,380
Perhaps it's not surprising
he returned to his home town,

701
00:40:08,380 --> 00:40:11,260
to the city where he'd
enjoyed his early successes,

702
00:40:11,260 --> 00:40:13,340
to try to refind that magic.

703
00:40:13,340 --> 00:40:14,900
Take three.

704
00:40:14,900 --> 00:40:17,860
Frenzy is a kind of homecoming
for Hitchcock.

705
00:40:17,860 --> 00:40:19,980
He goes back to his sources,

706
00:40:19,980 --> 00:40:23,580
back to the things
that terrified him as a child.

707
00:40:23,580 --> 00:40:27,540
Frenzy is a News Of The World,
sleazy murder mystery.

708
00:40:27,540 --> 00:40:31,140
We're back to the world
of The Lodger and the Ripper.

709
00:40:31,140 --> 00:40:33,780
There's a real murderer
at the heart of Frenzy,

710
00:40:33,780 --> 00:40:35,460
a man called Neville Heath.

711
00:40:35,460 --> 00:40:38,140
He was a terrible sadist, a killer.

712
00:40:38,140 --> 00:40:41,460
Hitchcock was strangely obsessed
with him.

713
00:40:41,460 --> 00:40:45,740
This isn't the first murderer
Hitchcock has this obsession with.

714
00:40:45,740 --> 00:40:48,420
There are details
of real British crimes

715
00:40:48,420 --> 00:40:53,100
salted away in the most unusual
places in Hitchcock's films.

716
00:40:53,100 --> 00:40:56,260
He made Frenzy in the final decade
of his life.

717
00:40:56,260 --> 00:40:59,740
It gave him the opportunity
to revisit the London of his youth.

718
00:40:59,740 --> 00:41:01,740
Lots of it was shot
in Covent Garden,

719
00:41:01,740 --> 00:41:05,100
a fruit-and-vegetable market
at the time.

720
00:41:05,100 --> 00:41:07,420
He remembered this
from when he was a young man

721
00:41:07,420 --> 00:41:10,020
and his father had been
a greengrocer.

722
00:41:10,020 --> 00:41:13,180
I wouldn't go so far as to claim
I have an affinity with Hitchcock

723
00:41:13,180 --> 00:41:15,620
because he was the son
of a greengrocer

724
00:41:15,620 --> 00:41:18,860
and I worked in a greengrocer,
cos I also worked as a delivery boy

725
00:41:18,860 --> 00:41:20,740
and in a newsagent's
and as a milk boy.

726
00:41:20,740 --> 00:41:23,220
I had all those jobs
people had back then

727
00:41:23,220 --> 00:41:26,420
and young people today don't
because they're pampered

728
00:41:26,420 --> 00:41:27,980
and they all have Xboxes.

729
00:41:27,980 --> 00:41:30,980
Not that I'm bitter, but you don't
know how lucky you are.

730
00:41:30,980 --> 00:41:35,340
Me and Hitchcock, we had it tough.
Well, he probably had it tough.

731
00:41:35,340 --> 00:41:39,020
I had it less tough,
but I had it tougher than you.

732
00:41:39,020 --> 00:41:43,860
Someone who experienced Hitch
first-hand was actress Jean Marsh,

733
00:41:43,860 --> 00:41:45,940
one of the stars of Frenzy,

734
00:41:45,940 --> 00:41:48,500
who I was lucky enough
to take a drive with.

735
00:41:48,500 --> 00:41:50,620
Let me ask you about Frenzy.

736
00:41:50,620 --> 00:41:54,300
It was one of the first Hitchcock
films I was aware of.

737
00:41:54,300 --> 00:41:57,780
I'd seen Psycho as a kid,
then I remember seeing on TV

738
00:41:57,780 --> 00:42:00,580
that this legendary figure was
returning to make a movie.

739
00:42:00,580 --> 00:42:02,340
I didn't understand what it meant.

740
00:42:02,340 --> 00:42:05,140
What did it mean to you
and contemporaries of his

741
00:42:05,140 --> 00:42:07,220
when he came back to the UK?

742
00:42:07,220 --> 00:42:10,740
I thought, 'That's nice -
he's coming back here.

743
00:42:10,740 --> 00:42:14,060
Oh, I've got a part in it!
That's quite nice.'

744
00:42:14,060 --> 00:42:18,940
Then I thought,
'Wait a minute, this is special.'

745
00:42:18,940 --> 00:42:21,420
How was he when directing you?

746
00:42:21,420 --> 00:42:23,740
How specific was he
in what he wanted from you?

747
00:42:23,740 --> 00:42:26,860
How much did he give you
about your character,

748
00:42:26,860 --> 00:42:28,900
or did he let you work it out?

749
00:42:28,900 --> 00:42:33,100
He definitely knew exactly
what he wanted.

750
00:42:33,100 --> 00:42:39,340
When you didn't get what he wanted,
he would wait endless takes.

751
00:42:39,340 --> 00:42:44,300
He said, 'Why do you keep doing this
one thing over and over again?'

752
00:42:44,300 --> 00:42:48,100
All I'm doing is
walking to the flat.

753
00:42:48,100 --> 00:42:51,620
He said, 'It just doesn't work.'

754
00:42:51,620 --> 00:42:55,020
I thought,
'What can I do to make it work?'

755
00:42:55,020 --> 00:42:59,020
I wondered,
'I'll think that I want to rush

756
00:42:59,020 --> 00:43:01,180
because I want to pee.'

757
00:43:01,180 --> 00:43:05,380
So I did that and he said,
'That's fine. What did you do?'

758
00:43:05,380 --> 00:43:07,700
I said, 'I'll tell you later.'

759
00:43:07,700 --> 00:43:12,180
I told him later, and he said,
'I'm glad you didn't tell me.'

760
00:43:12,180 --> 00:43:15,180
When you were filming out with him,
did it cause a stir?

761
00:43:15,180 --> 00:43:17,140
One thing that fascinates me is,

762
00:43:17,140 --> 00:43:20,380
unlike almost every other director,
he was a star.

763
00:43:20,380 --> 00:43:23,420
Oh, huge, of course. Yes.

764
00:43:23,420 --> 00:43:26,700
People - it was quite infuriating -

765
00:43:26,700 --> 00:43:29,540
people looked at you in the street.

766
00:43:29,540 --> 00:43:32,060
They would go...

767
00:43:32,060 --> 00:43:36,380
And I would think,
'What about me? I'm Jean Marsh.'

768
00:43:36,380 --> 00:43:38,060
Forget it.

769
00:43:38,060 --> 00:43:39,780
He was a big, big star.

770
00:43:39,780 --> 00:43:42,820
Bigger than most of the stars
in his movies.

771
00:43:42,820 --> 00:43:44,540
There was no-one like him.

772
00:43:44,540 --> 00:43:48,420
Even Spielberg isn't a star.

773
00:43:48,420 --> 00:43:50,860
He was a star.

774
00:43:50,860 --> 00:43:56,620
If Spielberg put on about 200lbs,
he might be a star like Hitchcock.

775
00:43:56,620 --> 00:43:58,500
As it is... I've met him.

776
00:43:58,500 --> 00:44:02,940
He's a great talent, but more or less
instantly forgettable.

777
00:44:02,940 --> 00:44:04,700
I imagine...
Stop it.

778
00:44:04,700 --> 00:44:07,460
I bet you carried a meeting
with Hitchcock with you.

779
00:44:07,460 --> 00:44:10,740
He liked the two sides of himself.

780
00:44:10,740 --> 00:44:14,780
He enjoyed playing Hitchcock
as well as being him.

781
00:44:14,780 --> 00:44:19,540
Apart from Frenzy, do you have a
favourite Hitchcock movie or moment?

782
00:44:19,540 --> 00:44:21,540
Vertigo.

783
00:44:21,540 --> 00:44:23,780
It was really creepy,

784
00:44:23,780 --> 00:44:29,540
and yet suddenly,
little flashes of humour. Wonderful.

785
00:44:29,540 --> 00:44:32,940
Let me drive you.
Where would you like to go?

786
00:44:32,940 --> 00:44:35,780
To your place.
OK, let's do it.

787
00:44:41,180 --> 00:44:44,900
It's somewhat fitting that Frenzy was
to be Hitch's last hit.

788
00:44:44,900 --> 00:44:47,300
He completed one more film,
Family Plot,

789
00:44:47,300 --> 00:44:49,700
but with illness dogging
his final years,

790
00:44:49,700 --> 00:44:52,740
he walked away from his movie
in the planning stages.

791
00:44:52,740 --> 00:44:54,620
He was knighted in 1980,

792
00:44:54,620 --> 00:44:58,180
but died in hospital in April
of the same year.

793
00:44:58,180 --> 00:45:01,420
There have been a lot of people
telling the story

794
00:45:01,420 --> 00:45:04,180
of their relationship with Hitchcock.

795
00:45:04,180 --> 00:45:08,700
A couple of movies have come out -
a TV film and a cinema film.

796
00:45:08,700 --> 00:45:11,700
I'm wary of their version
of the truth.

797
00:45:11,700 --> 00:45:14,020
They knew Hitchcock.
I never met Hitchcock.

798
00:45:14,020 --> 00:45:16,500
But when someone says
he was this or that,

799
00:45:16,500 --> 00:45:20,980
that's based on working experience
with him for a short time.

800
00:45:20,980 --> 00:45:24,660
You have to assume they didn't
see the whole man.

801
00:45:24,660 --> 00:45:29,420
Some people have said he saw himself
like his leading men inside -

802
00:45:29,420 --> 00:45:33,300
he wanted to be Cary Grant,
he saw himself as Cary Grant.

803
00:45:33,300 --> 00:45:36,340
I can't help but think
that must be bullshit.

804
00:45:36,340 --> 00:45:39,980
I don't think he was an idiot,
self-delusional.

805
00:45:39,980 --> 00:45:44,140
He was also an incredibly aware
commercial film-maker.

806
00:45:51,180 --> 00:45:55,100
Sir Alfred Hitchcock travelled
an awfully long way

807
00:45:55,100 --> 00:45:57,340
from Leytonstone High Road,

808
00:45:57,340 --> 00:46:01,620
propelled by talents Britain couldn't
ultimately contain.

809
00:46:01,620 --> 00:46:05,060
By leaving these shores,
he became a legend.

810
00:46:05,060 --> 00:46:09,340
Hitch is buried in America,
but I'm now even more convinced

811
00:46:09,340 --> 00:46:11,340
that Britain made him what he was

812
00:46:11,340 --> 00:46:14,460
and shaped his talent
to scare the world,

813
00:46:14,460 --> 00:46:16,980
something that he never forgot.

814
00:46:16,980 --> 00:46:21,740
Hitchcock is one of the most
important figures in all of cinema,

815
00:46:21,740 --> 00:46:25,140
one of the greatest directors
who ever lived.

816
00:46:26,300 --> 00:46:30,460
There are very few director who,
you can use their name

817
00:46:30,460 --> 00:46:33,180
and it immediately conjures up
an image

818
00:46:33,180 --> 00:46:35,780
of what their films are all about.

819
00:46:35,780 --> 00:46:39,660
I think he's an incredibly emotional
film-maker,

820
00:46:39,660 --> 00:46:43,820
and really got into the guts
of things so brilliantly.

821
00:46:43,820 --> 00:46:48,660
He's a director who speaks to things
inside us that are very dark,

822
00:46:48,660 --> 00:46:52,940
very strange, and that we don't
really like to talk about.

823
00:46:52,940 --> 00:46:54,900
How do we Brits pay tribute

824
00:46:54,900 --> 00:46:58,140
to the life and career
of our greatest director?

825
00:46:58,140 --> 00:47:01,620
We knock down the house he was
born in and put a plaque on a garage.

826
00:47:01,620 --> 00:47:05,500
I'm joking, because his British
brilliance needs no other tribute

827
00:47:05,500 --> 00:47:08,140
than the body of work he left behind.

828
00:47:10,980 --> 00:47:16,500
If you could only make one more
picture, what would it be about?

829
00:47:16,500 --> 00:47:23,460
I think it would be about murder,
mayhem, violence, sex

830
00:47:23,460 --> 00:47:26,780
and a joke or two.

831
00:47:36,700 --> 00:47:38,700
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