The perpetually influential Alfred Hitchcock mainly focused his artistry thriller films. This genre tends to win the hearts of audiences, while sending critics’ noses sky-high. However, more so than anyone, Hitchcock fueled his numerous hits with grounded character development. No matter how thrilling the story, the cinematic roller coaster is populated with relatable and sympathetic protagonists. Hitchcock was always more fascinated with the psychological elements of crime, and had a heavy camera presence. That invites a rare degree of investment, which in turn bolsters unmatched levels of suspense. Many have aspired to imitate this, but none will succeed as much as Hitchcock.
Here’s how IMDb users rated the best films from the Master of Suspense.
Shadow Of A Doubt - 7.9
This classic drama is about a bored young girl who suspects her uncle might be a serial killer. Nothing could be a more direct offense to the conformity of that generation — except perhaps the blunt dialogue wielded by the uncle himself. Still, despite some blatant social commentary, the thrills themselves are truly gripping. The mystery doesn’t keep you guessing, but this allows the suspense to fester exceptionally well. The performances are occasionally a little hokey, but perhaps intentionally so. And Joseph Cotten himself is both intimidating and intriguing.
Notorious - 7.9
This is a strange romance, as only Hitchcock can provide, directly inspiring Mission Impossible II. The protagonist is a cold-hearted agent who convinces a woman to seduce a smitten Nazi. But this duty quickly comes between the two Americans, who share an unexpected romance. It begins quite tense, but evolves into one of the more sentimental relationships Hitchcock would produce. However, this helps to fuel the spy story, which is also neat. The swiftly escalating danger is paralleled by the protagonists’ bond, so our investment feeds the suspense. Cary Grant does well as both the man of ice, and the melted aftermath. But it’s Ingrid Bergman who flaunts all the range, with extraordinary nuance.
Strangers On A Train - 8.0
This film spends an unusual amount of time with the serial killer, and really toys with the temptation of murder. In fact, one of the more suspenseful sequences involves the killer trying to recover incriminating evidence. The story practically dares the audience to sympathize, and reflect on their own limits. The murder plot itself is indeed a deviously clever method. Contemplating the perfect murder is the cornerstone for many Hitchcock tales, and the impetus for his entire anthology TV series. Ultimately, this film boils down to a game of wits, played for lives. The protagonist is a tennis player, and the strategic back and forth of that game couldn’t be a better metaphor.
Rope - 8.0
This nifty little thriller is actually a superb adaptation of a claustrophobic play. Two arrogant murderers celebrate their successful strangling by hosting a casual dinner party. While that might allay suspicion, James Stewart shows up, and his coolheaded prodding is utterly gripping. If the film weren’t so short, it might feel somewhat meandering, but thankfully the pacing is just right. Hitchcock goes for an interesting gimmick, presenting the entire film as a single shot by utilizing some careful editing. This feat brings an artistic statement to the table, just as neat to watch as the incredible performers.
Rebecca - 8.1
This was Hitchcock’s first foray into America, and won Best Picture at the Academy Awards. Unfortunately, the director himself wouldn’t be awarded accordingly. The film is based on a Daphne du Maurier novel, an author he would revisit for The Birds. Rebecca’s source material provides the perfect story for Hitchcock’s sensibilities. It is very much an intimate study on grief and marriage, which always interested the famed director. He’s picked it clean for comedy and drama alike, but this focuses on the latter with a striking mystery. It also features two spectacular leads, and Laurence Olivier’s reserved performance balances well with Joan Fontaine’s unease.
Dial M For Murder - 8.2
Yet another play, this also features some familiar players. Grace Kelly only made a couple movies with Hitchcock, but made a fierce impression on both viewers and Hollywood. The film is about infidelity, as a resentful husband concocts one of the most elaborate, well-fashioned murder schemes possible. The story is somewhat slow to begin, a result of its source material. But all is necessary and engaging nonetheless. Hitchcock considers the perfect murder with an incredible twist. And the police are just as clever as the killer, turning simple words into rapiers. The husband duels with exciting improvisation, keeping viewers guessing until the very end.
North By Northwest - 8.3
Screenwriter Ernest Lehman sought to make the ultimate Hitchcock movie, and he certainly succeeded. Across his entire filmography, Hitchcock always had a particular fascination with cases of mistaken identities and spies. This is undeniably the most fun he ever had, with more jokes and adventures per minute than ever. The film scoffs at verisimilitude, instead favoring pure entertainment. The music is strange and bouncy, a perfect companion to the excess and volatility of the story. Also, despite bearing such an unusually long runtime, bustling twists are packed into every square inch.
Vertigo - 8.3
This has literally been regarded as the greatest film ever made, and not without good reason. Due to the surreal overtones, it’s a visually arresting film, with intelligent recurring motifs and a lush urban setting. The swelling music is creative and unique, effortlessly melding with Hitchcock’s meticulous camerawork. And the psychological story allows for some of the best performances in any film, let alone among thrillers. Ultimately, it is a successful compound of all the ingredients which make cinema so impactful and endearing. It is a haunting masterpiece that drags viewers into the protagonist’s descent, and refuses to let go.
Rear Window - 8.5
Thanks to the voyeurism of the confined protagonist, this story is comprised entirely of pure cinema. The audience is deliberately set into James Stewart’s cast, trapped and equally intrigued by his neighbors. This immersive quality amplifies the suspense to a breaking point, as though viewers themselves have undertaken the dangerous contest. The film has Hitchcock’s brand of comedy written all over it, with discussion of murder so obscenely blunt, it’s hysterical. In the meantime, there’s also an interesting meditation on class, romance and marriage. Using the neighbors, Hitchcock parades every turn of a romantic relationship in one fell swoop. It’s a fascinating mirror for both the protagonists and the audience.
Psycho (1960) - 8.5
The sheer reputation of this film speaks for itself, pervading the collective even among those who haven’t seen it. Spawning three sequels and the highly successful Bates Motel, this classic horror story also birthed the entire slasher genre. It is one of the most thematically rich, visually scarring horror films ever made. And although the twist has long lost its shock appeal, the story itself doesn’t feel especially dated.
The conceptual foundation is too robust, corrupting the most innocent of settings with the darkest of crimes. The intentionally Gothic black and white delivers an upsetting, shadowy atmosphere for Norman Bates. He may be one of the most compelling, iconic villains of all time —in any fictional medium. The bird metaphors, the mother complex, and the methodical cover-up are completely absorbing. One could analyze the film with repeat viewings and never fall short of material. But regardless of all that artistry, it’s still a massively entertaining and necessary film to watch.
