1. Eric Rohmer and Claude Chabrol, Hitchcock, trans. Stanley Hochman (New York: Frederick Ungar Publishing Co., 1979), 152.
2. François Truffaut with Helen G. Scott, Hitchcock, rev. ed. (New York: Simon and Schuster, 1984), 20.
3. Easy Virtue is available in DVD format (Los Angeles, Calif.: Delta Entertainment Corp., 1999).
4. Strictly speaking this is a title, not a line of dialogue, because Easy Virtue is a silent film.
5. Truffaut, Hitchcock, 51.
6. For Eric Rohmer and Claude Chabrol, The Wrong Man confirms the Catholic doctrine of original sin, which holds that no matter how innocent we may believe ourselves to be, we are in fact guilty. This is implied throughout their chapter on The Wrong Man (Hitchcock, 145-52).
7. Truffaut, Hitchcock, 43.
8. For this observation, I am indebted to Tom Ryall, Alfred Hitchcock and the British Cinema (London: Athlone, 1996).
9. Truffaut, Hitchcock, 167.
10. Quoted in Donald Spoto, The Dark Side of Genius: The Life of Alfred Hitchcock (New York: Da Capo Press, 1993), 285.
11. Spoto, The Dark Side of Genius, 299-300.
12. In The Women Who Knew Too Much: Hitchcock and Feminist Theory (New York: Routledge, 1989), a feminist reading of Hitchcock's films, Tania Mod-leski argues that Hitchcock is much more identified with and sympathetic to the plights of his women heroines than is generally acknowledged.
13. Truffaut, Hitchcock, 171.
14. Alfred Hitchcock, "Direction (1937)," in Focus on Hitchcock, ed. Albert J. LaValley (Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1972), 35.
15. An even more stunning example of Hitchcock's use of pure cinema to give visual emphasis to the key occurs at the beginning of the next sequence of the film. The camera photographs the party at the mansion, beginning high above the staircase. It then gradually descends, moving closer and closer to Alicia (who is greeting guests with Sebastian), until all that appears in the frame is a huge close-up of Alicia's hand, which clasps the crucial key.
16. Truffaut, Hitchcock, 282.
17. Hitchcock said this at a press conference in 1947.
18. Franz Kafka wrote this in a letter to Oskar Pollak, January 27, 1904. In Franz Kafka, Letters to Friends, Family, and Editors, trans. Richard and Clara Winston (New York: Schocken, 1977), 16.
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