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The Baffling Cruelty of Alfred Hitchcock - The Atlantic   

A new book examines why the director was so stringent with—and sometimes even sadistic toward—his female leads.

Anyone who’s ever watched an Alfred Hitchcock film—seen Tippi Hedren clawed to pieces by dozens of gulls and ravens or Janet Leigh repeatedly stabbed in the shower—would have to wonder about the director’s attitude toward women. When it came to his leading actresses, he was known to have walked a line between stringent and outright sadistic. And yet the particular nature of Hitchcock’s collaborations with these women continues to serve as fodder for study and debate, despite the fact that the details of these relationships are more or less undisputed: With Ingrid Bergman, Grace Kelly, Eva Marie Saint, Kim Novak, and Leigh, the director would veer between the courtly and the coarse, at one moment inviting them to dine with his wife at his house in Bel Air, the next peppering them with filthy jokes in his trailer. And at least one allegation indicates that his behavior may have moved from the volatility long associated with Hollywood directors into something we today would call abuse. In a 2016 memoir, Hedren says that Hitchcock sexually assaulted her twice, while working on The Birds and Marnie, and that she experienced retaliation from him on set after she rebuffed him.

Hitchcock’s dynamics with women have been amply examined in the multiple biographies of the man. The director blended paternalism and cruelty as he tried to shape the appearance and performance of his lead actresses, and subjected their characters to varying but always intense degrees of psychosexual torment. During filming of The 39 Steps, for example, he shackled his two leads, Robert Donat and Madeleine Carroll, together in handcuffs and refused to release them between takes when Carroll needed to use the bathroom. Before shooting Vertigo, he invited Novak over for dinner, where he proceeded to humiliate her by holding forth on fine art and wine, knowing full well that she might be uncomfortable given her working-class background. These were techniques for getting what he wanted to see on the screen, with seemingly little regard for how they would affect the actresses.

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