The best hours with Alfred Hitchcock as adopted by us

Unfortunately for our evil leader, his crimes bite him again when the murder of a victim is attributed to his girlfriend, demonstrating his innocence in the form of "attempted murder." Don't try at home, friends; Two mistakes make no success.

Then there’s Rope, a cinematic proof that classmates who think they’re smart like you are really annoying. In this case, two men kill their friend just to prove their intellectual superiority; It takes us a bit far if you ask us, but hey, that's not our plot. Worse, they are partying for all their other companions with the dead man in a chest finest hours.

Fortunately, Jimmy Stewart is available to solve it by wearing a pair of hats and a touch of cinematic magic. Ah! One of the first suitable psychological thrillers and still one of the best.

Imagine something really scary. Like the most scary thing ever. It's probably not a group of birds fluttering around your head and threatening to peek, but that just means you haven't seen the birds yet. Hitchcock gangsters can explode service stations, break through houses, and are the only reason we will never set foot in a telephone booth again. Shiver.

The 1946 Shadow of a Doubt was Hitch's personal favorite of all his films, and it's really not hard to see why. Joseph Cotton's central performance is super creepy, and this was the first film to put terror in the heart of a picturesque suburban area. Halloween, Scream and everyone else has a lot to thank you for. And isn't 'Merry Widow Murderer' a cheerful term for serial killer?

Two men meet in a train. They’re strangers, but you probably got it from the movie title Strangers on a Train. Still, they agree to kill a member of the opposite boy’s family (because they seem to be annoying, and that’s the first thing you think about meeting a stranger). Murder, double crossing and a trip to the theme park are never forgotten.

Now we come to the masterpiece. Vertigo, another Jimmy Stewart movie, is one of our favorite films in history. Stewart is no longer any man: here he is cold, obsessed and somewhat neurotic. We like it.

As for the plot, it's not so new: private detectives, body doubles, hoaxes and a man who wants his wife to die are part of the course. But it's also one of Hitch's most personal films: apparently the idea of ​​recovering a woman in the image of a loss is related to Hitchcock's obsession with casting blondes, similar to Grace Kelly, who retired from acting in 1956 for to become a princess. Isn't that sweet?