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FYC: HITCHCOCK CAMEOS

by spartacula
FOR YOUR CONSIDERATION: HITCHCOCK CAMEOS information has been plagiarized from Wikipedia. Director Alfred Hitchcock made cameo appearances in 39 of his 52 surviving major films. (His second film, The Mountain Eagle, is lost.) He appears in all 30 features from Rebecca (his first American film) onward; before his move to Hollywood, he only occasionally performed cameos. In his earliest appearances he filled in as obscure extras, in a crowd or walking through a scene in a long camera shot. His appearances became so popular that he began to make them earlier in his films, so as not to distract the audience from the plot. The numbers after the… Read more

FOR YOUR CONSIDERATION: HITCHCOCK CAMEOS information has been plagiarized from Wikipedia. Director Alfred Hitchcock made cameo appearances in 39 of his 52 surviving major films. (His second film, The Mountain Eagle, is lost.) He appears in all 30 features from Rebecca (his first American film) onward; before his move to Hollywood, he only occasionally performed cameos. In his earliest appearances he filled in as obscure extras, in a crowd or walking through a scene in a long camera shot. His appearances became so popular that he began to make them earlier in his films, so as not to distract the audience from the plot. The numbers after the date refer to the H:M:S in to the film.

The Birds (‘63) 0:02 – Leaving the pet shop with two white Sealyham terriers as Tippi Hedren enters.
Blackmail (’29) 0:10:25 – Being bothered by a small boy as he reads a book on the London Underground. This cameo is 19 seconds long.
Dial M for Murder (‘54) 0:13:13 – On the left side in the class-reunion photo.
Easy Virtue (’28) 0:21:15 – Walking past a tennis court carrying a walking stick.
Family Plot (‘76) 0:40 – In silhouette through the door of the Registrar of Births and Deaths.
Foreign Correspondent (’40) 0:12:44 – After Joel McCrea leaves his hotel, wearing a coat and hat and reading a newspaper.
Frenzy (‘72) 0:03 – In the center of a crowd, wearing a bowler hat; he is the only one not applauding the speaker; and a minute later, right after the victim washes ashore, standing next to a gray haired man with a gray beard.
I Confess (’53) 0:01:33 – Crossing the top of a staircase.
The Lady Vanishes (‘38) 1:33 – In Victoria Station, wearing a black coat and smoking a cigarette.
Lifeboat (’44) 0:25 – In the “before” and “after” pictures in the newspaper ad for “Reduco Obesity Slayer”.
The Lodger (‘27) 0:03 – At a desk in the newsroom.
The Lodger (’27) 1:32 – In the crowd watching an arrest.
The Man Who Knew Too Much (‘34) 0:33 – Possible cameo walking across the road in a dark trench coat as a bus passes by (unconfirmed).
The Man Who Knew Too Much (’56) 0:25 – Watching acrobats in the Moroccan marketplace (back to the camera).
Marnie (‘64) 0:05 – Entering from the left of the hotel corridor after Tippi Hedren passes by.
Mr. & Mrs. Smith (’41) 0:42:57 – Passing Robert Montgomery in front of his building.
Murder! (‘30) 1:00 – Walking past the house where the murder was committed.
North by Northwest (’59) 0:02:09 – Missing a bus, just after his name passes off screen
Notorious (‘46) 1:00 – At the big party in Claude Rains’s mansion, drinking champagne and then quickly departing.
The Paradine Case (‘47) 0:36 – Leaving the train at Cumberland Station, carrying a cello case.
Psycho (’60) 0:07 – Through Janet Leigh’s window as she returns to her office, wearing a cowboy hat.
Rear Window (‘54) 0:25 – Winding the clock in the songwriter’s apartment (Some argue that Hitchcock breaks the fourth wall in this cameo, possibly turning to look at the audience in a “What are you looking at?” sort of manner, although he may merely be looking at Ross Bagdasarian who lives in the apartment).
Rebecca (‘40) 2:01 – Walking near the phone booth just after George Sanders makes a call.
Rope (’48) 0:02 – Walking along a street (holding a newspaper) after the opening credits.
Rope (‘48) 0:55 – His trademark silhouette can be seen on a red neon sign advertising “Reduco” in the view from the apartment window.
Saboteur (’42) 1:04 – Standing in front of “Cut Rate Drugs” as the saboteur’s car stops.
Secret Agent (‘36) 0:08 – Possible cameo coming down gangplank before hero.
Shadow of a Doubt (’43) 0:17 – On the train to Santa Rosa, playing cards, back to the camera. Shows a gin hand as reference to fact that cast played a gin tournament during filming.
Spellbound (‘45) 0:35 – Coming out of an elevator at the Empire Hotel, carrying a violin case and smoking a cigarette.
Stage Fright (’50) 0:39:49 – Turning to look back at Jane Wyman in her disguise as Marlene Dietrich’s maid.
Strangers on a Train (‘51) 0:10:34 – Boarding a train with a double bass as Farley Granger gets off in his hometown.
Suspicion (’41) 0:46:54 – Mailing a letter at the village postbox (long shot).
Suspicion (‘41) 0:04 – Walking a horse across the screen at the hunt meet.
The 39 Steps (’35) 0:06:56 – The man tossing a white sheet of paper while the bus pulls up for Robert Donat and Lucie Mannheim to leave the theatre.
To Catch a Thief (‘55) 0:10 – Sitting to the left of Cary Grant on the bus (Grant, who had previously been directed by Hitchcock in Suspicion and Notorious, gives the director a look as if to say, “Oh, no. Not you again!”).
Topaz (’69) 0:33 – Being pushed in a wheelchair in the airport. Hitchcock gets up from the chair, shakes hands with a man, and walks off to the right.
Torn Curtain (‘66) 0:08 – Sitting in the Hotel d’Angleterre lobby with a baby on his knee. He shifts the child from one knee to the other.
The Trouble with Harry (‘55) 0:22:14 – Looking outside of the window-the man walking past the parked limousine of an old man who is looking at paintings.
Under Capricorn (’49) 0:03 – In the town square during a parade, wearing a blue coat and brown hat.
Under Capricorn (‘49) 0:13 – One of three men on the steps of Government House.
Vertigo (’58) 0:11 – In a grey suit walking in the street.
The Wrong Man (‘56) 0:00:18 – Seen in silhouette narrating the film’s prologue. According to Donald Spoto’s biography, Hitchcock chose to make an explicit appearance in this film (rather than a cameo) to emphasize that, unlike his other movies, The Wrong Man was a true story about an actual person.
Young and Innocent (’37) 0:15 – Outside the courthouse, holding a camera.

http://www.filmsite.org/hitchcockcameos.html

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