International Herald Tribune (24/Oct/2008) - Book reviews: "Spellbound by Beauty"
(c) International Herald Tribune (24/Oct/2008)
- keywords: "Spellbound by Beauty: Alfred Hitchcock and His Leading Ladies" - by Donald Spoto, "The Art of Alfred Hitchcock" - by Donald Spoto, "The Dark Side of Genius: The Life of Alfred Hitchcock" - by Donald Spoto, Alfred Hitchcock, Donald Spoto, Eva Marie Saint, Grace Kelly, Ingrid Bergman, Janet Leigh, Joan Fontaine, Kim Novak, Psycho (1960), Rebecca (1940), Spellbound (1945), Teresa Wright, The Birds (1963), Tippi Hedren, Vertigo (1958)
Book reviews: "Spellbound by Beauty"
Spellbound by Beauty: Alfred Hitchcock and His Leading Ladies By Donald Spoto 324 pages. Harmony Books. $25.95.
Donald Spoto's "Spellbound by Genius" surveys Alfred Hitchcock's fraught relations with those ice-blond leading ladies he favored. Any reader remotely familiar with this material can predict that Spoto's emphasis will be on the filmmaker at his most fetishistic, and that the book's piece de resistance will be the pecking of Tippi Hedren during the making of "The Birds."
Spoto thus adds to the reams of critical speculation about Hitchcock's ambivalence toward some of his actresses. But there is another love-hate affair on display here: the one between this biographer and his subject.
Spoto began his Hitchcock studies with a work of polite hagiography, "The Art of Alfred Hitchcock," in 1976. He conducted many long and presumably collegial interviews with Hitchcock while working on that book. Seven years later, after Hitchcock's death, Spoto delivered a more feather-ruffling portrait, "The Dark Side of Genius," which dealt with Hitchcock's life as well as with his work.
And now, after a long if seemingly random string of other biographies about individuals as varied as Preston Sturges, Elizabeth Taylor and Joan of Arc, he is drawn back to familiar territory. He has pieced together a patchwork of analysis and anecdotes, drawing on the impressive list of Hitchcock collaborators he has known over the years. Hedren, for one, told Spoto not only about her ornithological nightmare ("Are you trying to kill her?" asked Hedren's doctor during her "Birds" ordeal) but also about Hitchcock's attempt to force her into making herself sexually available to him, threatening to ruin her career if she would not oblige. (She didn't.)
Two questions arise: How valuable is Spoto's collection of such material? And how does he justify putting it into print?
The justification comes fairly easily to him. No study of the Hitchcock oeuvre can ignore the films' subtexts or their frequently used motifs, he says. And even the plodding psychiatrist in "Psycho" would see parallels between the director's private longings and their cinematic correlatives. Critical orthodoxy about Hitchcock is another justification Spoto cites to bolster his new inquiry. He maintains that no understanding of the director's career can be complete without that dark side, and that great art need not correspond with saintly behavior. And he suggests that this book be read as "a cautionary tale of what can go wrong in any life." After all, "it is the story of a man so unhappy, so full of self-loathing, so lonely and friendless, that his satisfactions came as much from asserting power as from spinning fantasies and acquiring wealth." Among the well-known Hitchcock stars to whom more interest will gravitate, not all of them had rocky dealings with the filmmaker.
There were some, like Joan Fontaine in "Rebecca," who simply didn't much interest him; Hitchcock's dismissive attitude and schoolboy dirty jokes were the worst treatment they got. But interspersed with his anecdotes about actresses is a much tougher claim from Spoto: that Hitchcock, so well known for his cool precision, could be inattentive, bored or worse while the cameras rolled. This book balances oddly conflicting impressions of an obsessive Hitchcock and a distracted, ultimately quite dissipated one. Salacious as that may sound, Spoto does not manage to - and perhaps does not want to - seriously challenge an overall impression of Hitchcock's greatness.
Some of his leading ladies had a camaraderie with their director. Ingrid Bergman, "the closest actor-collaborator in Hitchcock's career," had a warm rapport with him, even if Hitchcock turned that into a schoolboy crush on her. He had great respect for her in any case; he reserved his crueler behavior for actresses who were less powerful, and thus less able to resist his bullying or his makeup and wardrobe mandates. No single performance in any of his films has been more heavily analyzed than Kim Novak's in "Vertigo." Still, Spoto has enjoyed extraordinary access to Hitchcock's players over a long period of time, and he has assembled a cavalcade of chatty firsthand impressions.