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Editorial Reviews
From Publishers Weekly
Alfred Hitchcock: The name conjures up incredible suspense, mordant laughs, the surprise ending. But Hitch's unique vision was not his alone. In this detailed analysis of the filmmaker's collaboration with screenwriter Hayes, DeRosa reveals how Hitchcock's basic artistic instincts were often radically reshaped and transformed by Hayes's nimble writing. The Hitchcock-Hayes collaborations--Rear Window, To Catch a Thief, The Trouble with Harry and The Man Who Knew Too Much--form a transitional period in the director's career, with the writer contributing a kinder vision of the human condition, highly sophisticated dialogue and a sense of humor to Hitchcock's works. DeRosa, a former film archivist, has soundly researched his subject and carefully compares the original versions of each film with its ensuing treatments, scripts and multiple revisions. Relying heavily on interviews with Hayes as well as on studio memos and production notes, DeRosa gives us not only an in-depth portrait of this working relationship but a comprehensive look at the industry in the late 1950s, when it was struggling to reassert itself after the emergence of television. The author also engagingly describes the cultural politics of the time (Joseph Breen and the Production Code were vigilant in attacking Hayes's edgy, urbane representations of sexuality). DeRosa also brings convincing drama to Hayes and Hitchcock's breakup and charts Hayes's later career writing such films as Peyton Place and The Children's Hour. While overly specific for the general reader, this is an important study for film and Hitchcock scholars.
From Library Journal
Despite Hitchcock's well-known flair for visual filmmaking, the director insisted on employing topnotch writers, including Raymond Chandler and Thornton Wilder. Hitchcock was particularly productive during the 1950s, when he collaborated with the young John Michael Hayes on four films: the innovative (Rear Window), the witty (The Trouble with Harry), the stylish (To Catch a Thief), and the stodgy (the remake of The Man Who Knew Too Much). These films proved popular with audiences. Unfortunately, however, Hitchcock could be egotistical and unforgiving, and a disagreement over the writing credit for Man abruptly ended their personal and professional relationship. Hayes continued to work but eventually grew disenchanted with Hollywood; meanwhile, Hitchcock went on to direct three of his greatest films toward the end of the decade. Here, DeRosa, a writer and film archivist, outlines the careers and creative partnership of Hayes and Hitchcock and analyzes the four screenplays. He notes that Hitchcock envisioned a film as a "mosaic" of set pieces or highlights more than a coherent whole, which led to problems for scriptwriters like Hayes. A supplementary purchase for libraries with large holdings on the film suspense master.DStephen Rees, Levittown Regional Lib., PA
Copyright 2001 Reed Business Information, Inc.
See all Editorial Reviews
Alfred Hitchcock: The name conjures up incredible suspense, mordant laughs, the surprise ending. But Hitch's unique vision was not his alone. In this detailed analysis of the filmmaker's collaboration with screenwriter Hayes, DeRosa reveals how Hitchcock's basic artistic instincts were often radically reshaped and transformed by Hayes's nimble writing. The Hitchcock-Hayes collaborations--Rear Window, To Catch a Thief, The Trouble with Harry and The Man Who Knew Too Much--form a transitional period in the director's career, with the writer contributing a kinder vision of the human condition, highly sophisticated dialogue and a sense of humor to Hitchcock's works. DeRosa, a former film archivist, has soundly researched his subject and carefully compares the original versions of each film with its ensuing treatments, scripts and multiple revisions. Relying heavily on interviews with Hayes as well as on studio memos and production notes, DeRosa gives us not only an in-depth portrait of this working relationship but a comprehensive look at the industry in the late 1950s, when it was struggling to reassert itself after the emergence of television. The author also engagingly describes the cultural politics of the time (Joseph Breen and the Production Code were vigilant in attacking Hayes's edgy, urbane representations of sexuality). DeRosa also brings convincing drama to Hayes and Hitchcock's breakup and charts Hayes's later career writing such films as Peyton Place and The Children's Hour. While overly specific for the general reader, this is an important study for film and Hitchcock scholars.
Copyright 2001 Cahners Business Information, Inc.
From Library Journal
Despite Hitchcock's well-known flair for visual filmmaking, the director insisted on employing topnotch writers, including Raymond Chandler and Thornton Wilder. Hitchcock was particularly productive during the 1950s, when he collaborated with the young John Michael Hayes on four films: the innovative (Rear Window), the witty (The Trouble with Harry), the stylish (To Catch a Thief), and the stodgy (the remake of The Man Who Knew Too Much). These films proved popular with audiences. Unfortunately, however, Hitchcock could be egotistical and unforgiving, and a disagreement over the writing credit for Man abruptly ended their personal and professional relationship. Hayes continued to work but eventually grew disenchanted with Hollywood; meanwhile, Hitchcock went on to direct three of his greatest films toward the end of the decade. Here, DeRosa, a writer and film archivist, outlines the careers and creative partnership of Hayes and Hitchcock and analyzes the four screenplays. He notes that Hitchcock envisioned a film as a "mosaic" of set pieces or highlights more than a coherent whole, which led to problems for scriptwriters like Hayes. A supplementary purchase for libraries with large holdings on the film suspense master.DStephen Rees, Levittown Regional Lib., PA
Copyright 2001 Reed Business Information, Inc.
See all Editorial Reviews
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Inside This Book Citations: This book cites 63 books | 2 books that cite this book Explore: Citations | Books on Related Topics | Concordance | Text Stats Key Phrases - SIPs: first draft script, final shooting script, subjective treatment, final tag, screenplay credit (more) Key Phrases - CAPs: Captain Wiles, John Michael Hayes, Miss Gravely, New York, Alfred Hitchcock (more) Browse Sample Pages: Front Cover | Copyright | Table of Contents | Excerpt | Index | |