Jamie Hanshaw joins Jay Dyer to do an in depth analysis of some of Hitchcock’s greatest films and their deeper meaning. Jamie and I deconstruct Notorious, Marnie, Rear Window, North by Northwest, The Man Who Knew Too Much, Vertigo, Psycho, The Birds and Frenzy. We touch on everything from mind control to the occult to MI6 and Tavistock connections, as we learn the master of suspense was also a master of another kind…
By: Jay Dyer
February 3, 2016
So far we have only analyzed one Hitchcock film, Vertigo (1958), where we highlighted the use of mind control, doubling and voyeurism on the part of a shadowy Bohemian Grove-esque elitist intent on manipulating the middle class Scottie (Jimmy Stewart) based on a profiling of his psychological weaknesses. In North by Northwest(1959) similar themes emerge, yet the master of suspense seemed willing to reveal much more than merely psychoanalytical and Freudian elements, notably being the first film to mention the “CIA.”
Hitchcock was not merely a master of suspense, but the father of the espionage film, adapting spy tales from both William Somerset Maugham (himself MI6, whose novel Ashenden would become Hitchcock’s Secret Agent in 1936) and Joseph Conrad (The Secret Agent novel would become Sabotage in 1936), directing some of the most notable espionage films of all time, including 39 Steps, Notorious, Torn Curtain and The Man Who Knew Too Much. Yet the connections to British Intelligence and the Atlanticist establishment are an even deeper rabbit hole.
“The Kordas’ task was to generally develop a pro-British current in America and to plump for cultism. They hired Aldous Huxley to write the screenplays for the two-hit Star War-style fantasy pictures of the 1930s, Kipling’s Jungle Book and The Thief of Baghdad. in the process making Huxley’s name as a scenarist. (When the Kordas stayed in Hollywood they usually housed with one of a British clique there which included Huxley, the modernist composer Igor Stravinsky, and Tavistock psychologist Humphrey Osmond.) They kicked off the wave of historical epics which dominated the United States and Europe in the 1940s; Hitler, in fact, had their Rembrandt re-made under his own aegis.