Hidden Hitchcock

No filmmaker has more successfully courted mass-audience understanding than Alfred Hitchcock, and none has been studied more intensively by scholars. In Hidden Hitchcock , D. A. Miller does what seems he discovers what has remained unseen in Hitchcock’s movies, a secret style that imbues his films with a radical duplicity.Focusing on three films— Strangers on a Train , Rope , and The Wrong Man —Miller shows how Hitchcock anticipates, even demands a “Too-Close Viewer.” Dwelling within us all and vigilant even when everything appears to be in good order, this Too-Close Viewer attempts to see more than the director points out, to expand the space of the film and the duration of the viewing experience. And, thanks to Hidden Hitchcock , that obsessive attention is rewarded. In Hitchcock’s visual puns, his so-called continuity errors, and his hidden appearances (not to be confused with his cameos), Miller finds wellsprings of enigma.Hidden Hitchcock is a revelatory work that not only shows how little we know this best known of filmmakers, but also how near such too-close viewing comes to cinephilic madness.