To Love or Leave: The Paradoxical Feminism of Alfred Hitchcock’s Suspicion

|Chris Polley| “Just because you’re paranoid doesn’t mean they aren’t after you,” Joseph Heller famously wrote in his 1961 wartime satire Catch-22. Taking place during World War II and reveling in the titular paradoxes inherent in the very concepts of warfare and military service… Continue reading

Don’t Ever Trust a Man that Calls You Monkeyface: Masculinity then and now

|Reid Lemker| If you learn one thing after watching Alfred Hitchcock’s 1941 film Suspicion, it should be this: don’t ever go out with a guy that refers to you as “Monkeyface.” I don’t care where they are from, how much money they claim they have, or even if they look like a young… Continue reading

A Stitch In Time: Picking at the Seams of To Catch a Thief’s Costume Design

A color image of John Robie, a white, dark-haired man standing next to Frances Stevens, a white, blonde woman on a lawn.

|Courtney Kowalke| Does anyone who enjoys classic Hollywood films get sick of talking about Edith Head? I’m sure those people exist, but I’m not one of them. I’m actually a bigger fan of Head’s work styling Kim Novak in Vertigo, but if you want to discuss Head and Hitchcock, To Catch aContinue reading

Mean Men & Wasted Women: The Audacious Excess of Hitchcock’s Notorious

Medium close-up of T.R. Devlin, played by Cary Grant, and Alicia Huberman, played by Ingrid Bergman leaning in for a kiss while Devlin takes a phone call.

|Chris Polley| “Every man that looks at you is a menace,” says runaway Nazi Alexander Sebastian (played by Claude Rains), the third wheel to and ultimate mark of the American power couple (played by Cary Grant and Ingrid Bergman) at the center of Alfred Hitchcock’s… Continue reading