Some statistics to mull over:
- Over his career, his films received 62 nominations, out of which garnered 6 statues, or 8.7%.
- His films received 3 best picture nominations
- Rebecca (1940) WINNER
- Suspicion (1941)
- Spellbound (1945)
- He himself received 5 best director nominations
- Rebecca (1940)
- Lifeboat (1944)
- Spellbound (1945)
- Rear Window (1954)
- Psycho (1960)
- 0 wins, but the Irving Thalberg recipient in 1967 where he famously just said "Thank you," before exiting the stage
- His films received 9 acting nominations
- 3 for leading actor\actress
- Laurence Olivier (Rebecca) 1940
- Joan Fontaine (Rebecca) 1940
- Joan Fontaine (Suspicion) 1941 WINNER
- 6 for supporting actor\actress
- Judith Anderson (Rebecca) 1940
- Albert Basserman (Foreign Correspondent) 1940
- Michael Chekov (Spellbound) 1945
- Claude Rains (Notorious) 1946
- Ethel Barrymore (The Paradine Case) 1947
- Janet Leigh (Psycho) 1960
- His films received 7 writing nominations, winning none
- Rebecca (1940)-- written by Charles Bennet & Joan Harrison
- Foreign Correspondent (1941)-- written by Robert E. Sherwood & Joan Harrison
- Shadow of a Doubt (1943)-- written by Gordon McDonell
- Lifeboat (1944)-- written by John Steinbeck
- Notorious (1946)-- written by Ben Hecht
- Rear Window (1954)-- written by John Michael Hayes
- North by Northwest (1959)-- written by Ernest Lehman
My three top Hitchcock films at the moment are:
- Rear Window (1954)
- Vertigo (1958)
- Strangers on a Train (1951)
The biggest acting omission occurs with Mr. James Stewart, who used his innate American goodness to support Hitchcock in four worthy films: Rope, The Man Who Knew Too Much, and his two finest (I'd say) in Rear Window and Vertigo. I know Vertigo was critically reviled when it opened...it was too new, but the performance was golden, how could that not be noticed.
It wasn't just the acting that was taken for granted, but also the other areas of the craft. For instance, The Birds was rightfully awarded an effects nomination only to lose to Cleopatra, with it's big clunkiness. Whereas The Birds artfully and frighteningly made for one the strongest and best effects in filmmaking even by today's over the top computerized standards-- it's all seamless, and beautiful.
It says a lot that Hitchcock's legacy will never die, but the Academy is still greatly in debt to this brilliant artist, and some things will never be okay no matter how time has passed. I continue to obsess, and document my progress.
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