When Oscars ignored Alfred Hitchcock #hollywood #movies #shorts

Alfred Hitchcock, the genius behind classics like Psycho, Vertigo, Rear Window, changed cinema forever with his groundbreaking techniques — yet never won an Oscar for Best Director. Ironic, right? Nominated five times in the category—for Rebecca, Lifeboat, Spellbound, Rear Window, and Psycho—Hitchcock was repeatedly snubbed by the Academy. Sure, Rebecca won Best Picture, but the Oscar went to the producer, not Hitchcock. It wasn’t until 1968 that the Academy tried to make amends with an honorary Oscar. But Hitchcock’s classy yet pointed response said it all. Oscar speech, memorable oscar speeches, 20 Best Alfred Hitchcock Films, Ranked
20. To Catch a Thief (1955)
To Catch a Thief was different from the era’s other suspenseful Hitchcock classics. It was more or less a light-hearted crime/thriller with the charming lead pair, Grace Kelly and Cary Grant. The narrative revolves around a retired cat burglar John Robie (Grant) who happily lives in the French Riviera. But he becomes the prime suspect when a string of robberies happen on the Riviera. In order to clear his name and find the thief, Robie teams up with insurance investigator Hughson. Robie rounds up a list of the unknown thief’s possible future victims. One among them was a wealthy widow and her gorgeous yet disdainful daughter, Frances (Grace Kelly).
19. Lifeboat (1944)
Alfred Hitchcock, the master craftsman, often experimented with the use of space in his films. A murder scene that unfolds in a shower in Psycho consisted of 78 camera set-ups and 52 cuts. Besides, he generated suspenseful moments by setting his entire narrative within a confined space. In Rope (1948) and Rear Window (1954), he imprisoned his camera within a single setting, yet managed to make a puzzling thriller. But long before all these spectacular instances, Mr. Hitchcock successfully experimented with confined space in his 1944 film Lifeboat. Set during WWII, the narrative follows a rag-tag bunch of people, who survive a German torpedo attack on a luxury steamer.

18. The Lodger: A Tale of the London Fog (1927)
Hitchcock’s third feature-film is based on Marie Belloc Lowndes’ 1913 novel. Lowndes’ story was considered to be the first novelization of unsolved and grisly Jack the Ripper murders that occurred at Whitechapel in East London. In Hitchcock’s film, the serial-killer calls himself ‘Avenger’, and only kills young blonde women on Tuesdays. On a foggy night, a young man named Jonathan Drew arrives at a lower-middle class household to rent a room. House owners Mr and Mrs. Bunting are suspicious of Jonathan because he seems to fit the description and behavior of the prowling serial-killer.

17. Spellbound (1945)
Spellbound marks the second of the three collaborations between Hitchcock and renowned Hollywood producer David O. Selznick. Though Selznick facilitated Hitchcock’s glorious Hollywood debut with Rebecca (1940), the two men continually engaged in conflict over creative control. The popular studio-era scribe Ben Hecht penned the script for Spellbound based on the novel The House of Dr. Edwardes. Often touted as Hollywood’s first movie about psychoanalysis, Spellbound was a passion project for Selznick.

16. Frenzy (1972)
Frenzy was Alfred Hitchcock’s penultimate film and saw the director return to an idea from his silent-era days. Like his 1927 movie The Lodger, Frenzy focuses on the crimes of a serial-rapist & murderer and the city-wide panic that ensues. It is based on Arthur La Bern’s 1966 novel. Frenzy also marked Hitchcock’s return to homeland to make a movie after more than two decades. Another interesting tidbit is that it was the first Hitchcock movie to be rated R. We are made aware of this in the film’s opening minutes as we see the nude body of a young woman, strangled with a neck-tie, floating in the Thames River...
15. The Wrong Man (1956)
The Wrong Man is a non-typical Hitchcock movie with a standard Hitchcock-ian theme: an innocent, ordinary man accused of a crime. It marks acting legend Henry Fonda’s one and only collaboration with the master of suspense...

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The Wrong Man (1956) The 39 Steps (1935) Dial M for Murder (1954) Foreign Correspondent (1940), Rope (1948) The Lady Vanishes (1938) Notorious (1946) Strangers On A Train (1951) The Birds (1963) Shadow of a Doubt (1943) Rebecca (1940) Rear Window (1954) Vertigo (1958) Psycho (1960) North By Northwest (1959) #AlfredHitchcock #RearWindow #NorthByNorthwest #Vertigo #Psycho #Rebecca

[azadinow]

The man's thank you speech had suspense even.

[Memeingmywayaround]

“Very much” looks more like “f you”, indeed!

Still better and longer a response than the Academy deserved…

[Passionformusic]

And the background music on stage is deliberately too loud for his voice to be heard… what a shame Oscars

[manujshankar]

Really ironical to find the movies of such a big director not able to achieve an Oscar, what exactly factored in this failure is still unknown to us, probably the Academy's inside lobby didn't give Hitchcock the required support.