lamdha books -
Catalogue of books on the Master of Suspense

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Auiler, Dan (Martin Scorsese, foreword)
Vertigo The Making of a Hitchcock Classic
St Martin's Press, New York, 1998.
Quarto hardcover; black boards with red spine titling; 220pp., monochrome and colour illustrations. Mild spotting on upper text block edges and very slight wear to dustwrapper edges. Near fine otherwise and wrapper now professionally protected by superior non-adhesive polypropylene film. Vertigo has assumed a pre-eminent position in the director's oeuvre. This book explores the evolution of the film, examining early script drafts, through detailed interviews with participants and many archival materials. Illustrated with stills, sketches and storyboards.
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Barr, Charles
English Hitchcock A Movie Book
Cameron and Hollis, Moffat, Dumfriesshire, Scotland, UK, 1999.
Second edition. Octavo; paperback; 255pp., with many monochrome illustrations. Text block and page edges faintly toned; small sticker added to half-title page to cover previous sticker stain; wrapper lightly worn at edges. Else very good. In 1925, in a studio in Bavaria, a young Englishman, still in his twenties, directed his first feature film. It was the start of a career that would, fifteen years later, take him to Hollywood, where he became one of the very few directors whose reputation often eclipsed that of his stars. Although Alfred Hitchcock achieved his greatest success and fame in America, he was inescapably English, and the films that he made in his native country before taking up a contract with David O. Selznick are very much more than apprentice work. 'The Lodger', 'Blackmail', 'The Man Who Knew Too Much', 'The 39 Steps' and 'The Lady Vanishes' are films of enormous wit and sophistication - masterworks in their own right. However, Hitchcock's critical reputation has so far been firmly founded on the American films, while his English period has been underestimated and relatively neglected. English Hitchcock rectifies this critical imbalance by providing in an entertaining and elegantly written text a detailed and well-documented reading of the films.
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Conrad, Peter
The Hitchcock Murders
Faber and Faber Ltd., London, 2000.
Octavo; hardcover, with silver-gilt spine-titling; 362pp., with monochrome photographic illustrations. Minor wear; text block and page edges toned; some marks and scuffs to the text block edges. Dustwrapper is lightly worn, with an old security tag on the verso of the rear flap; now professionally protected by superior non-adhesive polypropylene film. Very good. "I cannot recall how my obsession with Hitchcock started; it goes back almost far enough to qualify as an original sin. But there is a specific date that solemnised the affair. One afternoon in 1961, aged all of 13, I lost my virginity at a screening of 'Psycho'. Strictly speaking, it was only my innocence I lost... Your graduation from innocence to experience occurs when the feverish business of imagining begins, and for me, this raid on a forbidden knowledge will always be associated with 'Psycho'. During my first under-age exposure to the film, the images that thrilled me were those of trespass and guilty surveillance. This, surely, was why the cinema existed: to depict what you were not supposed to be looking at. I assumed that I would eventually recover from the obsession, just as I outgrew my adolescent rashes. Now, accepting that I never will, I want to understand why..."
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Durgnat, Raymond
The Strange Case of Alfred Hitchcock or, The Plain Man's Alfred Hitchcock
Faber and Faber Ltd., London, 1975.
Reprint: octavo; hardcover, with gilt spine titles; 419pp., with 24pp. of monochrome plates. Moderate wear; slightly cocked; spine heel softened; some spotting to the text block edges; mild offset to the endpapers. Dustwrapper is mildly rubbed and edgeworn; sunned along the spine panel; now professionally protected by superior non-adhesive polypropylene film. Very good. Raymond Durgnat delineates the many facets of Alfred Hitchcock's prolific career and the controversies that these have aroused among the critics - critics who have seen Hitchcock as master of the aesthetic "touch" and who prefer his English to his American period, or those for whom Hitchcock is a dark Roman Catholic moralist. Durgnat's Hitchcock is a fascinating mixture of contrarieties. He tends to admire Hitchcock for his ability to tell a story and to control and manipulate order so that he can play his audience with suspense, for his "rare sense of how far dramatic conflicts can be complicated and in which ways," and for the conjunction or layering of elements in films like "Rear Window", "Vertigo", and "Psycho", which constitutes the real Hitchcock "touch." Durgnat reminds us that Hitchcock's ability to capture a feeling of everyday realism, particularly in the background and details of his early films, is something of a feat - "realism in the '30s was a rarer and more difficult achievement... the director couldn't just point a TV camera in the street, but first had to notice [these details], then to love them enough to remember and to re-create them and lastly to slide them deftly into a thriller context."
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Freeman, David
The Last Days of Alfred Hitchcock A Memoir by His Last Collaborator & the Final Unproduced Screenplay "The Short Night"
The Overlook Press, Woodstock NY USA, 1999.
Octavo; paperback; 281pp., with 16pp. of monochrome photographic plates. Mild wear to the wrappers; text block and page edges lightly toned. Very good. Freeman collaborated with the director on his last unrealised project, a thriller entitled 'The Short Night'. Hitchcock was in poor health but he nevertheless worked steadily and reminisced about his life, his films, and the people he knew, including Ingrid Bergman, Howard Hughes, Cary Grant, and Kim Novak.
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Glancy, Mark
The 39 Steps British Film Guide series
I.B. Taurus & Co. Ltd., London, 2003.
Octavo; paperback; 119pp., with many monochrome photographic illustrations. Mild wear. Near fine. One of Hitchcock's early masterpieces, Glancy examines the influences that shaped the film and presents an original and close analysis of the narrative technique, style and performance of the actors.
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Gottlieb, Sidney
Alfred Hitchcock Interviews
University Press of Mississippi, Jackson MS USA, 2003.
Octavo; paperback; 219pp. Some minor marks to the text block edges. Near fine. Such films as 'Psycho', 'North by Northwest', 'Spellbound', 'Vertigo', 'Rear Window', 'To Catch a Thief', 'Notorious', and 'The Birds' made the Hitchcock imprint synonymous with both stylish, sophisticated suspense and mordant black comedy. Alfred Hitchcock was one of the most interviewed directors in the history of film. Among the hundreds of interviews he gave, those in this collection catch Hitchcock at key moments of transition in his long career - as he moved from silent to sound pictures, from England to America, from thrillers to complex romances, and from director to producer-director. These conversations dramatize his shifting attitudes on a variety of cinematic matters that engaged and challenged him, including the role of stars in a movie, the importance of story, the use of sound and colour, his relationship to the medium of television, and the attractions and perils of realism.
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Leff, Leonard J.
Hitchcock & Selznick The Rich and Strange Collaboration of Alfred Hitchcock and David Selznick in Hollywood
Weidenfeld & Nicolson, New York NY USA, 1987.
First US edition. Octavo; hardcover, quarter-bound in papered boards with silver-gilt spine-titling; 383pp., with many monochrome illustrations. Spotting to text block edges; minor edgewear to the boards. Dustwrapper is mildly worn. Very good. "Hitchcock and Selznick" is the story of one of the oddest partnerships in Hollywood history, the union of a reticent, overweight Englishman with a flair for striking detail and a penchant for the perverse, and a dynamic movie mogul with a keen eye for successful entertainment on the grand scale. It began in 1938, when producer David O. Selznick agreed to bring director Alfred Hitchcock from England, where he was already gaining widespread acclaim for his "little thrillers", and the collaboration resulted in the making of such masterpieces as 'Rebecca', 'Spellbound', and 'Notorious'. Hitchcock was soft-spoken and meticulous; Selznick was confrontational and chronically disorganized. They were, moreover, two geniuses with wholly different approaches to filmmaking. The sparks that flew between them over the next eight years ignited into some of Hitchcock's most memorable achievements, but they made collaboration impossible in the end. Drawing on unpublished documents, early drafts of script treatments, and humorous production anecdotes - and including a wealth of previously unseen photographs - Leonard Leff has written a book for specialist and layman alike, a fascinating behind-the-scenes portrait not only of two great Hollywood figures but of the film industry itself.
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McGilligan, Patrick
Alfred Hitchcock A Life in Darkness and Light
John Wiley & Sons Ltd., Chichester West Sussex UK, 2003.
Octavo; paperback; 850pp., with 32pp. of monochrome photographic plates. Minor wear to the covers; some marks to the text block edges. Very good. In a career that spanned six decades and produced more than 60 films including 'The 39 Steps', 'Vertigo', 'Psycho', and 'The Birds' Alfred Hitchcock set new standards for cinematic invention and storytelling. Acclaimed biographer Patrick McGilligan re-examines his life and extraordinary work, challenging perceptions of Hitchcock as the macabre Englishman and sexual obsessive, and reveals instead the ingenious craftsman, trickster, provocateur, and romantic. Like Hitchcock's best films, Patrick McGilligan's life of Hitchcock is a drama full of revelation, graced by a central love story, dark humour, and cliff hanging suspense: a definitive portrait of the most creative, and least understood, figure in film history.
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Spoto, Donald
The Life of Alfred Hitchcock The Dark Side of Genius
William Collins & Sons, London, 1983.
First edition: octavo; hardcover, quarter-bound in papered boards with gilt spine-titling; 594pp., with many monochrome photographic illustrations. A minor bump to the spine head; text block edges lightly toned; a binding error to the rear endpapers. Dustwrapper is edgeworn with some minor chips and associated creasing; a 5cm tear to the bottom of the upper flap turn; now backed by archival-quality white paper and professionally protected by superior non-adhesive film. Very good. A controversial biography which presents a less than flattering portrait of its subject, but as the author himself concludes: ''He drew so deeply from the human reservoir of imagery and dream and fear and longing that he achieved universal appeal. Had his films been simple incarnations of his own fantasies and dreams, with no wider reference, he would have perhaps won a small and devoted group of admirers. But he expressed those elusive images and half-remembered dreams in terms that moved and astounded and delighted and aroused awe from millions round the world.''
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Taylor, John Russell
Hitch The Life and Work of Alfred Hitchcock
Faber and Faber Ltd., London, 1978.
Octavo; hardcover, with silver-gilt spine-titling; 320pp., with 16pp. of monochrome photographic plates plates. Lightly toned and spotted text block edges with a few small marks. Very good to near fine in like dustwrapper. First edition. An authorised biography. The author, a distinguished film critic and friend of Hitchcock's, enjoyed his full cooperation. Based on numerous interviews, with photos from the private family albums, and an in-depth study of the making of his last film.
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Wood, Robin
Hitchcock's Films
Castle Books, New York, NY, USA, 1969.
Quarto; hardcover; 204pp., with many monochrome illustrations. Previous owner's ink inscription to the front free endpaper; spotted text block edges; mild offset to the preliminaries. some sunning to the top edges of the boards. Spine and rear panel of dustwrapper slightly browned; wear and chipping to edges and small tear on upper spine panel; now professionally protected by superior non-adhesive polypropylene film. Very good. Robin Wood feels that Hitchcock should be seen as a Shakespeare of cinema; that the sense of communication on many levels in his films precludes the self-consciousness of the artist that besets the arts today, and fosters true artistic impersonality. As with Shakespeare, all one asks of Hitchcock, he contends, is that one look at his films, allow himself to react spontaneously, and then consider his reactions. Thus, instead of assuming that 'Vertigo' is just a mystery-thriller (in which case it is a botched job, with the solution divulged two thirds of the way through), the author asks us to look without preconceptions at the sequence of images that Hitchcock gives, and consider our first-hand response to those images. We will then be led, very swiftly by the straightest path, to the film's profound implications.
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