Classical Myth in Alfred Hitchcock's Wrong Man and Grace Kelly Films

by Mark William Padilla

Overview

Mark Padilla’s classical reception readings of Alfred Hitchcock features some of the director’s most loved and important films, and demonstrates how they are informed by the educational and cultural classicism of the director’s formative years. The six close readings begin with discussions of the production histories, so as to theorize and clarify how classicism could and did enter the projects. Exploration of the films through a classical lens creates the opportunity to explore new themes and ideological investments. The result is a further appreciation of both the engine of the director’s storytelling creativity and the expressionism of classicism, especially Greek myth and art, in British and American modernism. The analysis organizes the material into two triptychs, one focused on the three films sharing a wrong man pattern (wrongly accused man goes on the run to clear himself), the other treating the films starring the actress Grace Kelly.



Chapter One, on The 39 Steps (1935), finds the origins of the wrong man plot in early 20th-century British classicism, and demonstrates that the movie utilizes motifs of Homer’s Odyssey. Chapter Two, on Saboteur (1942), theorizes the impact of the director’s memories of the formalism and myths associated with the Parthenon sculptures housed in the British Museum. Chapter Three, on North by Northwest, participates in the myths of the hero Oedipus, as associated with early Greek epic, Freud, Nietzsche, and Sophocles. Chapter Four, on Dial M for Murder (1954), returns to Homer’s Odyssey in the interpretive use of “the lay of Demodocus,” a story about the sexual triangle of Hephaestus, Aphrodite, and Ares. Chapter Five, on Rear Window (1954), finds its narrative archetype in The Homeric Hymn to Aphrodite; the erotic theme of Sirius, the Dog Star, also marks the film. Chapter Six, on To Catch a Thief (1955), offers the opportunity to break from mythic analogues, and to consider the film’s philosophical resonances (Plato and Epicurus) in the context of motifs coalesced around the god Dionysus/Bacchus.

Product Details

ISBN-13:	9781498563505
Publisher:	Lexington Books
Publication date:	12/12/2018
Pages:	412
Product dimensions:	6.07(w) x 9.27(h) x 1.24(d)

About the Author

Mark W. Padilla is distinguished professor of classical studies at Christopher Newport University.

Table of Contents

Preface

List of the Feature Films of Alfred Hitchcock

List of Illustrations

Introduction



Part One: Three Wrong Man Films



Chapter One: The 39 Steps’ Reception of Homer’s Odyssey: Modernist Myth via John Buchan and Gilbert Murray



Chapter Two: Saboteur and the British Museum’s Parthenon Sculptures: Athena, Hephaestus, and Poseidon as Models for Pat, Barry, and Tobin



Chapter Three: North by Northwest’s Receptions of Oedipus: Campbell, Freud, Nietzsche, and Sophocles



Part Two: The Three Grace Kelly Films



Chapter Four: Dial M for Murder as the Net of Hephaestus: Untangling the Mythic Imagination of Frederick “Knott”



Chapter Five: Rear Window’s Seductions: The Homeric Hymn to Aphrodite and Sirius’ Dog Star Ritualism



Chapter Six: To Catch a Thief’s Vacation on France’s Côte d’Azur: Maenads, Dionysian Actors, and Plato’s Sôphrôsyne



Bibliography



Index

Editorial Reviews

P. is committed to making this book accessible to all audiences independently of their discipline of origin. Hence he spends a lot of time introducing concepts, myths, traditions, historical events, plots, production practices and film techniques. The avoidance of excessive jargon helps him deliver a monograph that can be read by both classical and film scholars alike – let alone Hitchcock enthusiasts. Although either side might be tempted to skip parts they feel more comfortable with, or the ones that alienate them, P. weaves his interpretation throughout these discussions by carefully going back and forth between texts to present a plausible and, ultimately, fascinating reading that is aided by his extensive knowledge of both sides of the project. As a result his book merits attention not just as a curiosity but as a serious attempt at film analysis.. .. In this sense P. benefits from alternative readings of the film, but his eye remains always on his perspective, thus making his interpretation original, insightful and very interesting to read.

Classical Review

Classical Myth in Alfred Hitchcock’s Wrong Man and Grace Kelly Films is certainly a rewarding.. . read.. . To anybody interested in the subject, I would suggest starting with the author’s Classical Myth in Four Films of Alfred Hitchcock before approaching this very profound piece of classical reception studies. Analysing Hitchcock films along the lines of (and as a helpful comparison to) classical myth is not an entirely new approach.[3] Padilla’s book, however, takes it to the next level and is therefore recommended not only to specialists, but also to everyone interested in classical myth as a dynamic phenomenon.

Bryn Mawr Classical Review

The several "prodigious feats" of classicist Mark Padilla in this book more than emulate those of Mr Memory in Alfred Hitchcock's The 39 Steps (1935). Professor Padilla's accomplishment is to have placed six Hitchcock films and their characters in something like a fundamental position in the history of art and narrative. His lens is that of Greek myth and culture, and it works splendidly. The character Richard Hannay (Robert Donat) in The 39 Steps is "both high and low", and we are told exactly why. Lisa Fremont (Grace Kelly) in Rear Window (1954) is successively "self-centered" and "heroic", and Padilla illustrates this by analogues drawn from two separate versions of the Aphrodite/Venus story. Exemplary stuff. Whole courses on the Western-art heritage could be based on Padilla's book.

Ken Mogg

In this welcome follow-up to his Classical Myth in Four Films of Alfred Hitchcock, Padilla continues to demonstrate the profound influence of classical myths and imagery on many of the Master of Suspense’s most important works. Classicists and scholars of film and classical receptions alike will appreciate Padilla’s thorough research, keen insights, and perceptive analysis, which are made accessible to lay audiences - both Hitchcock fans and armchair mythologists - through clear organization, direct prose, and full exposition of the works he discusses. By highlighting the imprint of classical myths, images, and patterns on the seemingly unrelated works of one of the most influential auteur-directors in the history of cinema, Padilla here makes an important contribution to the growing field of Reception Studies.

Kirsten Day