100 books like Hitchcock

With the exception of the prefatory material, which one can skip, this is one of the very best books on Hitchcock.

It is beautifully written and attentive to cinematic details and larger themes. It offers rich interpretations of several central films, with the first half focused on close interpretation and the second half, written later in Wood’s career, more orientated toward Marx, Freud, and gay studies.

Though the book is uneven, it contains some of the best analyses one will ever read of Hitchcock’s major films.

This is the first book I read that confirmed my own intuition—that Hitchcock’s works are as rich and complex as great literary works.

Brill’s book was a relatively early work of Hitchcock criticism, but an enduring one, a humanistic study with considerable attention paid to the films’ aesthetic and religious dimensions. The latter is fitting because Hitchcock was a deeply Catholic director.

The book offers excellent analyses, with good attention to cinematic and artistic features.

If one wants to learn about Hitchcock’s complex relation with women, one can turn to Donald Spoto’s The Dark Side of Genius or Laurence Leamer’s recent Hitchcock’s Blondes, but if one wants to contemplate the aesthetic question, how are women portrayed in Hitchcock, Modleski is far more rewarding.

I learned much from her weighing of Hitchcock’s ambivalence toward women. The book offers a strong feminist account of seven films, and I have consistently recommended it to my students as one of the best books on Hitchcock. 

Music is essential to the meaning of film, and I couldn’t get enough of this book.

Despite its narrower focus, it is a superior work, on a level with the best Hitchcock volumes. If music and film interest you, you will benefit from it. Moreover, Sullivan covers almost half of Hitchcock’s more than 50 films.

Bernard Herrmann is revered as one of the movies' greatest composers.

Imagine starting your Hollywood career with music for Citizen Kane!

He enjoyed a very productive 10-year relationship with director Alfred Hitchcock, which produced such masterpieces as Vertigo, Psycho, and North by Northwest; he also worked with Francois Truffaut on Fahrenheit 451, composed the original Twilight Zone theme, and capped his career with music for Martin Scorsese's Taxi Driver.

Yet he could be cantankerous and difficult, antagonizing both friends and colleagues with his temperamental behavior and insistence upon the highest standards of music and drama.

I love the fact that Smith writes as well about the music as he does about the composer, and the reader walks away knowing lots about both.

Blake’s book explores the way in which a distinctly Catholic sensibility shaped the cinematic imaginations of Alfred Hitchcock, Martin Scorsese, John Ford, Francis Ford Coppola, and Brian De Palma.

Blake’s point is not that these filmmakers were pious or even believers. He does demonstrate, though, that the Catholic cultures in which these filmmakers grew up significantly influenced both the stories they told and the images they created.

Buchan’s books are full of DIY heroes, men thrown into impossible situations but who manage to survive through their wits, a healthy dose of humor - and if necessary, with their fists. The book follows the hero Hannay, as he tries to escape German spies, first through England and then the wilderness of Scotland. The odds are stacked high against Hannay, but his bravura and strong will help him solve the mystery and dissolve the spy ring. Some of the views expressed in Buchan’s books are no longer politically correct and his works should always be understood in the context of his times, yet they make for very compelling reading.

These stories were picked out by the master of suspense, himself, Alfred Hitchcock. These stories are both horrific and suspenseful. With tales involving a flesh-eating troll, something creepy lurking about in the woods that kills anything that comes into its path, and an uninvited odd boy that comes to a party with evil intentions, one will not be able to put this book down. It might even make you want to leave the lights on during the night.

Sheila Kohler, a mentor of mine whose work is featured in this thrilling collection, is fond of saying that suspense arises from putting a vulnerable character in a dangerous situation. A literary writer of the highest caliber, Sheila knows how to generate the suspense that keeps the page turning. Crime fiction has a long history going back to Dostoevsky and beyond, to the great tragedians—the commission of a crime entails motive, means, and is inherently dramatic. This eclectic selection of mystery and female noir, edited by Joyce Carol Oates, features superstar writers like Edwidge Danticat, Margaret Atwood, Sheila Kohler, Elizabeth McCracken, and Joyce Carol Oates herself. The writing is luminous, the themes are varied—from domestic horror to the erotic to dark fairy tales—and the tales keep the reader turning the page.

This is a great novella based on a specific incident in the young Alfred Hitchcock's life which subsequently forms the backbone for his demeanor, interests, films, and philosophy. Fictionalised biography can come under criticism for not being accurate and it's true that some factual accuracy is put aside here but that's not to the detriment of story. Volk doesn't put a foot wrong in tone, characterisation, or prose. This is an engaging, compelling work that illuminates Hitchcock in the same way that Joyce Carol Oates' Blonde illuminates Monroe or John Connolly's He does the same for Stan Laurel. Thoroughly enjoyed it. This version is no longer available, but it forms part of The Dark Masters trilogy featuring similar characterisations of the actor Peter Cushing and writer Aleister Crowley which is also highly recommended.