Alfred hitchcock in Drama DVDs & Videos

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Containing 14 of the cinematic gems that earned Alfred Hitchcock his reputation as the Master of Suspense, ALFRED HITCHCOCK - THE MASTERPIECE COLLECTION is the ultimate collection for fans of the legendary director. Created across three major decades in filmmaking history, the films included here range from the witty, fashionable, and funny, to the truly terrifying and macabre. Showing Hitchcock's great breadth as a director, these works star such screen icons as Grace Kelly, James Stewart, Sean Connery, Anthony Perkins, and Doris Day. Contents include SABOTEUR, SHADOW OF A DOUBT, ROPE, REAR WINDOW, THE TROUBLE WITH HARRY, THE MAN WHO KNEW TOO MUCH, VERTIGO, PSYCHO, THE BIRDS, MARNIE, TORN CURTAIN, TOPAZ, FRENZY, FAMILY PLOT, plus a special program featuring segments on the making of THE BIRDS and PSYCHO, and an American Film Institute tribute to the director himself. Each film included in the collection also features bonus materials such as director's notes, trailers, extra and deleted scenes, storyboards, and extended/alternate endings.

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If you like Hitchcock, then this is a great collection for you. Ten of his early movies collected on five double-sided DVD discs. The movies include: YOUNG & INNOCENT, BLACKMAIL, JUNO & THE PAYCOCK, RICH & STRANGE, THE RING, LODGER, SECRET AGENT, THE LADY VANISHES, THE MAN WHO KNEW TOO MUCH and SABOTAGE. See individual titles for descriptions.

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Master of suspense Alfred Hitchcock was as prolific as he was brilliant, producing not only dozens of award-winning films but also a few excellent television series. ALFRED HITCHCOCK PRESENTS, which won the Golden Globe Award for "Television Achievement," was arguably the best of his small-screen triumphs. Hosted by the man himself, the series offered viewers short audiovisual stories on a weekly basis, mixing the genres of horror, drama, suspense, and fantasy. The third season of the show is collected here in its entirety.

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The master of suspense, Alfred Hitchcock, was as prolific as he was brilliant, producing not only dozens of award-winning films, but also a few excellent television series. ALFRED HITCHCOCK PRESENTS, which won the Golden Globe Award for "Television Achievement," was arguably the best of his small-screen triumphs. Hosted by the man himself, the series offered viewers short dramatized stories on a weekly basis, mixing the genres of horror, drama, suspense, and fantasy. Season two is collected here in its entirety, with 39 episodes featuring guest stars Rip Torn, Jessica Tandy, Hume Cronyn, Vic Morrow, and others.

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The master of suspense, Alfred Hitchcock, was as prolific as he was brilliant, producing not only dozens of award-winning films, but also a few excellent television series'. ALFRED HITCHCOCK PRESENTS, which won the Golden Globe Award for "Television Achievement," was arguably the best of his small screen triumphs. Hosted by the man himself, the series offered viewers short audiovisual stories on a weekly basis, mixing the genres of horror, drama, suspense, and fantasy. SEASON ONE is collected here in its entirety.

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British film director Alfred Hitchcock was known as the master of suspense and his legendary career spanned over six decades. THE LEGEND BEGINS compiles 20 of his earlier movies including JAMAICA INN, THE LADY VANISHES, THE 39 STEPS, THE MAN WHO KNEW TOO MUCH, and THE LODGER.

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This pristine collection features eight early masterworks from the oft-silhouetted auteur. If the 1927 silent thriller THE LODGER showed the world what a young Hitchcock was made of, then the crime tales YOUNG AND INNOCENT and SABATOGE ushered his craft into the world of sound, and Laurence Olivier helped the master bring it to new heights in the romantic mystery-thriller REBBECA (1940). A pair of classics featuring the radiant Ingrid Bergman--the psychological thriller SPELLBOUND and the quintessential spy noir NOTORIOUS--are also included in this collection, as is the Gregory Peck legal drama THE PARADINE CASE. The set also features LIFEBOAT, the unconventional World War II thriller that does wonders with just one waterlogged set and Tallulah Bankhead. Almost every one of the films is supplemented with extensive featurettes, vintage trailers, restoration comparisons, commentary from film historians, and more. See individual titles for more detailed information.

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This collection from the LEGENDS OF HOLLYWOOD series spotlights the work of the master of suspense himself, featuring 10 films in all: YOUNG & INNOCENT, BLACKMAIL, JUNO & THE PAYCOCK, RICH & STRANGE, THE RING, LODGER, SECRET AGENT, THE LADY VANISHES, THE MAN WHO KNEW TOO MUCH, and THE SABOTAGE, as well as two additional bonus films.

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Cinephiles can sate their desire for the work of the "Master of Suspense" with this three-volume collection. This set includes JAMAICA INN, YOUNG AND INNOCENT, THE SKIN GAME, HITCHCOCK PRESENTS: THE SORCEROR'S APPRENTICE, THE MANXMAN, JUNO AND THE PAYCOCK, CHAMPAGNE, HITCHCOCK PRESENTS: THE CHENEY VASE, THE FARMER'S WIFE, EASY VIRTUE, and THE RING. Please see individual titles for synopsis information.

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Thrill to the suspense-filled adventures of four Alfred Hitchcock films in this four movie collection: SECRET AGENT, THE LADY VANISHES, THE MAN WHO KNEW TOO MUCH (the 1934 original), and SABOTAGE. These were all groundbreaking films for the master and star such greats as Sir John Gielgud, Sylvia Sydney and Peter Lorre. Also included is the bonus film: "Chaney Vase."

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Alfred Hitchcock demonstrates once again his brilliance in creating visual suspense in this film from his British period. NUMBER 17 tells the story of a young detective who stumbles across a stash of jewel thieves hiding out in an abandoned house near a railway. Multiple identities and confusion are the background for this early Hitchcock thriller. The story, based on a play by J. Jefferson Farjeon, was previously filmed as a 1928 silent picture and was a studio assignment Hitchcock initially resented.

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Robert Tisdall (Derrick De Marney) is about to be convicted of a murder on circumstantial evidence. Rather than pay for a crime he didn't commit, he escapes, determined to find the guilty man. While hiding out and lying low, the fugitive enlists the assistance of Erica Burgoyne (Nova Pilbeam), a comely country lass too kindhearted to turn him in. Little does he know, she's also the chief constable's daughter. Together, Erica and Robert embark on a mission to prove his innocence and bring the real murderer to justice.

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STRANGERS ON A TRAIN, based on the Patricia Highsmith novel, quickly became one of Alfred Hitchcock's most successful thrillers and remains one of his most popular films. En route from Washington, D.C., champion tennis player Guy Haines (Farley Granger) meets pushy playboy Bruno Anthony (Robert Walker). What begins as a chance encounter turns into a series of morbid confrontations, as Bruno manipulates his way into Guy's life. Bruno is eager to kill his father and knows Guy wants to marry a senator's daughter (Ruth Roman) but cannot get a divorce from his wife, Miriam (Laura Elliot). So Bruno suggests the men swap murders, which would leave no traceable clues or possible motives. Though Guy refuses, it will not be so easy to rid himself of the psychopathic Bruno. The film is tightly paced and disturbing from beginning to end, an effect heightened by Hitchcock's inventive camera work, including a terrifying sequence shot through a pair of eyeglasses that have been knocked to the ground.

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Joan Fontaine's fabulous performance as a woman who grows to fear the man she loves anchors this compelling story in which Alfred Hitchcock shows his love for playing with the audience's expectations. Perfectly cast is the dashing Cary Grant, whose lovable and charming persona is on full display while being completely transformed through Hitchcock's eerie camera work and visual innuendo--to the point that the simplest gesture takes on a new and malevolent aspect. SUSPICION lives up to its title's promise, weaving dread and ambiguity into a potent psychological net. Fontaine is the beautiful daughter of a wealthy, landed English family. Grant is the lighthearted and irreverent wastrel who charms Fontaine into elopement and succeeds in introducing the young woman to the pleasures of a more carefree outlook on life. However, as Fontaine discovers the legacy of Grant's carefree ways--his numerous debts and pursuers--she begins to suspect a darker past and must confront the horrible implications this has for her future.

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The weather is getting hotter, and photographer L.B. Jefferies (Jimmy Stewart) is stuck in his apartment with a broken leg and nothing to do--that is, nothing to do but spy on his neighbors through their open windows across the way in the apartment complex. There's an attractive and scantily clad dancer, a songwriter, a lonely woman, and the Thorwalds (Raymond Burr and Irene Winston), a bickering couple, among others. But when Mrs. Thorwald disappears, Jefferies is sure that something's wrong. Soon, despite the warnings of his girlfriend, Lisa (Grace Kelly), and his motherly nurse, Stella (Thelma Ritter), Jefferies has out his binoculars and telephoto lens and is studying his neighbor "like a bug under glass." However, looking in from the outside might not be as safe as Jefferies assumes. REAR WINDOW is not only a gripping story of murder and suspense, it is a celebrated allegory on the nature of film itself, a story in which the audience watches Jefferies watch the story unfold. The different windows represent the various different stories that are often told on film and also can be seen as representing the coming of television, as Jefferies can watch a multitude of "shows" from the comfort of his own apartment.

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Alfred Hitchcock had already begun work on REAR WINDOW when he took on the project to direct DIAL M FOR MURDER, based on the successful play by Frederick Knott. For the film, Hitchcock chose to cast his favorite leading lady of the time, Grace Kelly, as the embattled Margot Wendice. Kelly would also star in REAR WINDOW and Hitchcock's subsequent TO CATCH A THIEF. It wasn't Hitchcock's preference to shoot DIAL M FOR MURDER in Warnercolor 3D (the cameras were large and unwieldly), and the film is seldom screened in 3D, but Hitchcock's use of the technique is notable for its service to the story rather than just being a gimmick. In the film Margot Wendice is a wealthy heiress whose playboy husband, Tony (Ray Milland), recognizes his dependence on his wife's fortune. When Tony begins to suspect he is losing Margot's affection to writer Mark Halliday (Robert Cummings), he also begins to fear he will lose her wealth. This leads the callous husband to craft a plan for his wife's death. However, when the plan goes awry, Tony is quick to turn circumstance into a second opportunity to destroy his wife.

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A bleak and powerful drama, THE WRONG MAN tells the story of an innocent man accused of a crime committed by a close look-alike. Based on an actual incident reported in Life magazine, the film is the only documentary-style film Alfred Hitchcock made. THE WRONG MAN presented audiences with a radical change of style after Hitchcock's more lighthearted and conventional productions, such as THE MAN WHO KNEW TOO MUCH and TO CATCH A THIEF. The story begins as Manny Balestrero (Henry Fonda) and his wife, Rose (Vera Miles), decide to borrow on her life insurance policy to pay medical bills. But at the insurance office, three employees mistake Manny for a man who robbed them just days earlier. That night, he's arrested and charged with a series of hold-ups, setting in motion an innocent man's desperate attempt to prove his innocence. Fonda gives a strong performance, while Miles powerfully conveys the psychological cost to the accused man's wife. The film features an exceptional musical score by Bernard Hermann.

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STRANGERS ON A TRAIN, based on the Patricia Highsmith novel, quickly became one of Alfred Hitchcock's most successful thrillers and remains one of his most popular films. En route from Washington, D.C., champion tennis player Guy Haines (Farley Granger) meets pushy playboy Bruno Anthony (Robert Walker). What begins as a chance encounter turns into a series of morbid confrontations, as Bruno manipulates his way into Guy's life. Bruno is eager to kill his father and knows Guy wants to marry a senator's daughter (Ruth Roman) but cannot get a divorce from his wife, Miriam (Laura Elliot). So Bruno suggests the men swap murders, which would leave no traceable clues or possible motives. Though Guy refuses, it will not be so easy to rid himself of the psychopathic Bruno. The film is tightly paced and disturbing from beginning to end, an effect heightened by Hitchcock's inventive camera work, including a terrifying sequence shot through a pair of eyeglasses that have been knocked to the ground.

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I CONFESS, from the play by Paul Anthelme, is based on a premise custom made for Alfred Hitchcock's fascination with the dilemma of an innocent man accused of a crime. Montgomery Clift plays Father Michael Logan, a priest who hears the confession of a murderer and soon finds himself framed for the crime. Circumstantial evidence mounts, painting an ever more damning picture of the priest's crime while he is bound by his priestly vows not to reveal what he has learned in confession. If other Hitchcock dramas such as SABOTEUR follow the plight of the innocent man through breakneck pursuits, I CONFESS succeeds on the strength of Clift's ability to convey the real anxiety of the moral dilemma he faces and the effects of the widening chasm between pious intentions and social disgrace. Strong performances are also given by O.E. Hasse as the bitter and murderous gardener Otto Keller and by Anne Baxter as the woman whose faith in Father Logan also threatens scandal.

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FAMILY PLOT was Alfred Hitchcock's 54th and final film; he died on April 29, 1980. The film was Hitchcock's second biggest box office success. Once again the master has made a film that involves one of his favorite themes--doubling--with one character providing a dark counterpoint to the hero, acting out all his or her repressed, negative desires, as in SHADOW OF A DOUBT and STRANGERS ON A TRAIN. In this film, the two couples, one criminal but amiable and the other criminal but violent, provide a stark contrast with one another. The parallel couples also provide emotional counterbalance to one another as Hitchcock weaves alternating threads of humor and cruelty to create this layered story. When a rich, guilt-ridden dowager visits a psychic (Barbara Harris) for help in finding her family's long-abandoned heir, she sets off more than a search for a missing person. Unbeknownst to the lady, the psychic is a phony, and the lure of dollars sends her, along with her cabdriver husband (Bruce Dern), in hot pursuit of the lost beneficiary. Their bumbling search, however, threatens to interfere with established criminal interests, and, unknowingly, the couple's doggedness leads them into harm's way. The film was based on THE RAINBIRD PATTERN, a novel by Victor Canning.

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