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Word: hitchcocks (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

...acquisition of an ability to empathize totally with a strong cinematic personality-then Sarris is definitely the man to turn to as a guide to cinematic transubstantiation. His altar even has its own iconography: casts of Angle Dickinson's body and Belmondo's mug, John Wayne's slouch and Hitchcock...

Author: By Michael Sragow, | Title: Auto-Eroticism Confessions of a Cultist | 12/12/1970 | See Source »

...A.FRED HITCHCOCK once imagined a small California town abruptly and unaccountably beset by flocks of homicidal birds. In Pinole, a suburban hamlet in the hills 14 miles north of San Francisco, the idea might not seem entirely fantastic. Each summer for the past three years, an almost biblical plague of rattlesnakes has descended on the town...

Author: /time Magazine | Title: American Scene: The Rattlesnakes of Pinole | 6/29/1970 | See Source »

Pathology of Obsession. Truffaut dedicates the film to his idol, Jean Renoir, and The Mississippi Mermaid begins with scenes from Renoir's 1938 masterpiece La Marseillaise. There are many more affinities here, though, with the work of another Truffaut deity, Alfred Hitchcock. As Julie, Catherine Deneuve has all the frosty, mysterious elegance of such typical Hitchcock heroines as Ingrid Bergman and Grace Kelly. Jean-Paul Belmondo, as Louis, has the distinctively empathetic star quality that Hitchcock has always favored in his leading...

Author: /time Magazine | Title: Cinema: Truffaut in Transition | 4/27/1970 | See Source »

...conception of Boys, Crowley said, "I loved Virginia Woolf and it influenced me a lot-but the real inspiration was the Salinger story. 'Uncle Wiggily in Connecticut.' And movies like All About Eve [Mankiewicz's melodrama about Hollywood stardom] and Hitchcock's Rope, which gave me the idea of using confined quarters as a dramatic device...

Author: By Frank Rich, | Title: Mart Crowley and 'The Boys' | 3/25/1970 | See Source »

...this Washington bureaucrat Hitchcock has created, at whatever cost to the tightness of his film, the figure we know is blindly implementing policies of worldwide domination. To condemn this professional for his complicity requires of an audience the same sort of moral overview, which recognizes the effect of governmental policies on other people, that the man lacks. So far few reviewers and audiences have shown their ability to connect Devereux's schizophrenie shallowness to the political murders he indirectly commits. Whatever powers Hitchcock at seventy may have lost, his view of America's moral illness remains correct...

Author: By Mike Prokosch, | Title: The Moviegoer Topaz at the Harvard Square through tomorrow | 3/16/1970 | See Source »

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