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In article <NAKAI.92Oct6190219@rigel.ori.shimz.co.jp> 
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From: cn@otter.hpl.hp.com (Colin Needham)
Newsgroups: rec.arts.movies
Subject: Re: HITCHCOCK (in films?)
Date: 25 Feb 91 07:00:52 GMT
Organization: Hewlett-Packard Laboratories, Bristol, UK.

>I have heard that Alfred Hitchcock has supposedly appeared in all of his 
>films. I was wondering if anyone knows if this is true, and if there is a book
>available that would state what scene of each movie that he was in.

I got the following list from this group a couple of years ago. I have since
added some additional information and I now believe that it is complete.

Col

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THE LODGER (1926): At a desk in a newsroom and later in the crowd watching
an arrest.

BLACKMAIL (1929):  Being bothered by a small boy as he reads a book in 
the subway.

THE 39 STEPS (1935):  Tossing some litter while Robert Donat and Lucie
Mannheim run from the theater, seven minutes into the movie.

YOUNG AND INNOCENT (1938):  Outside the courthouse, holding a camera.

THE LADY VANISHES (1938):  Very near the end of the movie, in Victoria
Station, wearing a black coat and smoking a cigarette.

FOREIGN CORRESPONDENT (1940):  Early in the movie, after Joel McCrea
leaves his hotel, wearing a coat and hat and reading a newspaper.

MR. AND MRS. SMITH (1941):  Midway through, passing Robert Montgomery in front 
of his building.

SABOTEUR (1942):  Standing in front of Cut Rate Drugs in New York as the
saboteurs' car stops, an hour in.

SHADOW OF A DOUBT (1943):  On the train to Santa Rosa, playing cards.

LIFEBOAT (1944):  In the "before" and "after" pictures in the newspaper ad for 
Reduco Obesity Slayer.

SPELLBOUND (1945):  Coming out of an elevator at the Empire Hotel,
carrying a violin case and smoking a cigarette, 40 minutes in.

NOTORIOUS (1946):  At a big party in Claude Rains's mansion, drinking
champae and then quickly departing, an hour after the film begins.

THE PARADINE CASE (1947):  Leaving the train and Cumberland Station,
carrying a cello.

ROPE (1948): His trademark can be seen briefly in the view from the appartment
window.

UNDER CAPRICORN (1949):  In the town square during a parade, wearing
a blue coat and brown hat, in the first five minutes.  Ten minutes later,
he is one of three men on the steps of Government House.

STAGE FRIGHT (1950):  Turning to look at Jane Wyman in her disguise as
Marlene Dietrich's maid.

STRANGERS ON A TRAIN (1951):  Boarding a train with a double bass fiddle
as Farley Granger gets off in his hometown, early in the film.

I CONFESS (1953):  Crossing the top of a staircase after the opening credits.

DIAL M FOR MURDER (1954):  On the left side of the class-reunion photo, 
thirteen minutes into the film.

REAR WINDOW (1954):  Winding the clock in the songwriter's apartment, a half 
hour into the movie.

TO CATCH A THIEF (1955):  Ten minutes in, sitting to the left of Cary Grant 
on a bus.

THE TROUBLE WITH HARRY (1955):  Walking past the parked limousine of an
old man who is looking at paintings, twenty minutes into the film.

THE MAN WHO KNEW TOO MUCH (1956):  Watching acrobats in the Moroccan 
marketplace (his back to the camera) just before the murder.

THE WRONG MAN (1956):  Narrating the film's prologue.

VERTIGO (1958):  In a gray suit walking in the street, eleven minutes in.

NORTH BY NORTHWEST (1959):  Missing a bus during the opening credits.

PSYCHO (1960):  Four minutes in, through Janet Leigh's window as she
returns to her office.  He is wearing a cowboy hat.

THE BIRDS (1963):  Leaving the pet shop with two white terriers as Tippi 
Hedren enters.

MARNIE (1964):  Entering from the left of the hotel corridor after Tippi Hedren
passes by, five minutes in.

TORN CURTAIN (1966):  Early in the film, sitting in the Hotel d'Angleterre 
lobby with a blond baby.

TOPAZ (1969):  Being pushed in a wheelchair in an airport, half an hour in.
Hitchcock gets up from the chair, shakes hands with a man, and walks off to 
the right.

FRENZY (1972):  In the center of a crowd, wearing a bowler hat, three 
minutes into the film; he is the only one not applauding the speaker.

FAMILY PLOT (1976):  In silhouette through the door of the Registrar of
Births and Deaths, 41 minutes into the movie.

-----------------------------------------------------------------
"Now you listen to me, I'm an advertising man not a red herring"
  -- Cary Grant, North by Northwest
-----------------------------------------------------------------
Col Needham                |  Phone: +44 272 799910 x 24131
HP Labs                    |  cn@hplb.hpl.hp.com
Bristol                    |  cn@hplabs.hpl.hp.com
U.K.                       |  cn@otter.hpl.hp.com
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        $@0$It(J $@C#Mx(J (Tatsutoshi Abe) abe@dev3.emi.yamaha.co.jp
                $@%d%^%O(J($@3t(J)$@EE;R3Z4o;v6HK\It5;=Q3+H/It3+H/;02](J