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Alfred Hitchcock: The Master of Adaptation

A thesis submitted for the degree of

Doctor of Philosophy

by

Thomas William Bass

School of Arts

Brunel University

August 2015

2

Table of Contents

Abstract 4

Acknowledgments 5

Chapter 1: Introduction 7

1.1 Adapting Hitchcock 7

1.2 Auteur Theory and Hitchcock Studies 15

1.3 Auteur-structuralism 22

1.4 Adaptation Theory 24

1.5 Problems & Differences 25

1.6 29

1.7 Classifying Adaptation and Adapting the Narrative 30

1.8 Historical - 35

1.9 Cultural Adaptation 39

1.10 Adaptation: What has been gained? 41

1.11 Outside Factors and Hitchcock Adapted 43

Chapter 2: Theatrical Adaptation: Part 1 The British Plays 46

2.1 Silent Cinema and Early Hitchcock 46

2.2 Easy Virtue The Play 54

2.3 Easy Virtue The Film 58

2.4 The Play 79

2.5 The Film 84

2.6 The Talkies 98

2.7 The Lasting Success of Blackmail 100

2.8 Juno and the Paycock The Play 103

2.9 Juno and the Paycock The Film 107

2.10 The Skin Game The Play 114

2.11 The Skin Game The Film 119

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Chapter 3: Theatrical Adaptation: Part 2 -

Theatre 133

3.1 The Evolution of Rope 133

3.2 Looking for the Theatrical in Dial M for Murder 156

Chapter 4: The Adaptation of an Author 174

4.1 Du Maurier and Hitchcock 174

4.2 The Texts 180

4.3 Adaptation of the Blind Space 184

4.4 Make Way For Pengallen 189

4.5 East Wind, and the Psychosexual Narrative 195

4.6 Powerless Protagonists 200

4.7 Psychoanalytical Theories at War Within The Birds 203

4.8 The Absence and Presence of Sound Within the Du Maurier Adaptations 211

4.9 Unresolved Complexes, Possession and The Camera Within Rebecca 214

-Meta- 225

5.1 What to do with Psycho? 225

5.2 Les Diaboliques and the Psycho Narrative 229

5.3 Use of Camera and Sound, The Infamous Shower Scene and B. De Palma 244

5.4 264

5.5 -Remakes 286

Chapter 6: Conclusion 301

Filmography 308

Bibliography 312

Appendix I: Number Seventeen and the Different Endings of

Hitchcock 326

Appendix II 331

4

Abstract

use of adaptation and the impact that work, is to produce the basis for an adaptation model that could be used to examine his entire body of work, accounting for all influences, extratextual references, intertextualities, sequels, remakes and most importantly, other authors. By exploring films, we can begin to form the foundations for this model. By looking at his adaptation of a particular author and the textual evolution of one of his most iconic films, we are able to put this model to the test.

Chapter one is the introduction, which

cinematic history, while also examining the current state of Hitchcock scholarship, auteur theory and adaptations studies. specifically shining light upon texts that are often ignored or maligned by theoretical study. Chapter three discusses the American theatrical adaptations, specifically theatrical. ith Daphne du Maurier, examining his adaptation of her work, overall themes, characters and ideologies. This chapter also presents an original reading of The Birds, which examines how horror.

Chapter five examines the evolution of Psycho

amongst others, Robert Bloch and Henri-Georges Clouzot will be discussed, as will the multiple sequels, remakes and exploitations that, in turn, adapt his own film. It will be argued that these texts are in fact adapting Psycho much as the film itself. Chapter six is the conclusion where the findings are analysed and the model of adaptation, which positions Hitchcock at the centre as a collector of texts is discussed. 5

Acknowledgements

First and foremost I thank God for the wisdom and strength to complete this work and for guiding me through this journey. Now I have been working on this thesis for a long time, too long as most of my friends have often reminded me, but it has been a wonderful journey. When I started out, just over five years ago, I had just moved to London with my wife Jessica. We had been married a year and were attempting to come to terms with life in Stratford, home of the Olympics and a rising crime rate. So my thesis has grown and evolved over the beginning years of my marriage and thus my wife has played an enormous part in everything that I have researched and written. She has stood by me when I wanted to throw away every Hitchcock book and snap every DVD when the work frustrated me to the point of insanity. She has given me words of wisdom and encouragement when I seemed lost, acted as a sounding board when I have rambled on about the wonders of adaptation and most importantly she has been the greatest grammar and spell checker the world has ever known. Without her this would be an illegible mess. Without trying to sound too corny she is wonderful and I could not have done this without her. I love you babe. For the record before anyone wonders why they were not first, second or third, these acknowledgements are in no particular order, I am just writing them as they come to me. So next up I have to thank my long-suffering supervisor Dr Leon Hunt. Without him I could not have completed this work. I am thankful for his honesty and his patience, especially when I have had the tendency to leave the country for months on end. I am also indebted to his knowledge of obscure horror films of which led me to the very useful but extremely creepy cinema of Robert Bloch. A big thank you is also in order for Brunel University, specifically the Department of Social Sciences, Media & Communication. Thanks also to Millicent Williamson, Daniele Rugo and David Ingram for their invaluable advice over the years. Family next. It is hard to put words to the kind of support that a loving family family is now my own. So to my American Dad, my American Mom and my brother Josh, I love you all and I thank you for everything you have done for me over the years. I started this thesis in America, bought half of my books there and even found my trusted collection of you and thank you. Now my British kin. Well there are too many of you for starters. First off I have to thank my Dad for his tireless support. Whether it has been an endless amount of library books, obscure Hitchcock documentaries recorded off of late night TV, financial aid, or his own knowledge, my Dad has provided anything and everything to aid my work. My sister Rosie, my aunts Claire and Donna and my uncle John have all in their own way helped me throughout the years. Half of my Christmas and birthday presents in recent times have been Hitchcock books and film related items so thanks 6 also go out to Uncle Gary, Lizzie, James, Steph, Rob, Christine, Hunter, Sophia and

Patch the Puppy.

I should say a quick thank you to the Golden Grove pub in Stratford where I worked as a Shift Manager for the majority of this thesis. It was horrible work and an unpleasant drinking crowd but the staff and management were wonderfully accommodating to my university schedule and research. Over the final few weeks of my thesis I have had different friends mention to me, some joking, some serious, if I would be acknowledging them in this section, I told them all that I would be. All of you have often asked and enquired about my work, borrowed films and books from me on the subject, ridiculed me for taking too long, encouraged me when I have needed it and ultimately been the most wonderful friends a guy could ask for. So in alphabetical order, couples together, first name of known longest, a big thanks to: Alistair, Mike, Neil & Holly, Nick & Kim and Ross. Now I do not want to end on a sad note, but I have to thank my Nan and Granddad, Gran and Grandpa, and my uncle Alan who each in their own way helped me to become the man I am today. I miss you all. I also have to say a special thank you to my mother who, as well as raising me, instilled within me a love of literature, films and most importantly, education. She was the best. This thesis is dedicated to her. 7

Chapter 1: Introduction

1.1 Adapting Hitchcock

The idea for this thesis occurred to me when I picked up and read Robert Psycho for the first time. The novel and text were incredibly similar in terms Bates, a perspective the film does not allow or is capable of achieving in a way that but even this small window altered my perception of the film, on one hand giving me presenting me with a question: why exactly had this narrative change occurred?

Matthew H. Bernstein writes that

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