Altekar Parshwanath and Alfred Hitchcock.

Sir Alfred Joseph Hitchcock KBE (August 13, 1899 – April 29, 1980) was a highly influential film director and producer who pioneered many techniques in the suspense and thriller genres. He directed more than fifty feature films in a career spanning six decades, from the silent film era, through the invention of talkies, to the colour era. Hitchcock was among the most consistently successful and publicly recognizable directors in the world during his lifetime, and remains one of the best known and most popular directors of all time, famous for his expert and largely unrivalled control of pace and suspense throughout his movies.
Hitchcock was born and raised in Leytonstone, London, England. He began his directing career in the United Kingdom in 1922, but from 1939 he worked primarily in the United States and applied for U.S. citizenship in 1956. Hitchcock and his family lived in a mountaintop estate high above Scotts Valley, California, from 1940 to 1972. He died of renal failure in 1980.
Hitchcock's films draw heavily on both fear and fantasy, and are known for their droll humour. They often portray innocent people caught up in circumstances beyond their control or understanding.
Rebecca was the only one of his films to win the Academy Award for Best Picture, although four others were nominated. However, Hitchcock never won an Academy Award for Best Director. He was awarded the Irving G. Thalberg Memorial Award for lifetime achievement in 1967, but never personally received an Academy Award of Merit.
Until the later part of his career, Hitchcock was far more popular with film audiences than with film critics, especially the elite British and American critics.[citation needed] In the late 1950s the French New Wave critics, especially Éric Rohmer, Claude Chabrol, and François Truffaut, were among the first to see and promote his films as artistic works. Hitchcock was one of the first directors to whom they applied their auteur theory, which stresses the artistic authority of the director in the film-making process.
Hitchcock's innovations and vision have influenced a great number of filmmakers, producers, and actors. His influence helped start a trend for film directors to control artistic aspects of their movies without answering to the movie's producer.(Wikipedia)

















Everything's perverted in a different way.

– Alfred Hitchcock.

Throughout his work Hitchcock reveals a fascinated and fascinating tension, an oscillation, between attraction to the feminine… and a corresponding need to erect, sometimes brutally, a barrier to the femininity which is perceived as all-absorbing.

– Tania Modleski .

“He who knows the male, yet cleaves to what is female
Becomes like a ravine, receiving all things under heaven”
And being such a ravine
He knows all the time a power that he never calls upon in vain.
This is returning to the state of infancy.

– The Tao Te Ching









What Wilde's Dorian Gray gave Hitchcock; Vertigo

Hitchcock's films, supposedly expressive of “pure cinema”, if not “art for art's sake”, in fact have their basis in a sadomasochism that is universal in human affairs. Think of it, indeed, as a cosmic principle. That's the vision I believe Hitchcock took from Wilde's Dorian Gray, though it had received many prior formulations by artists and thinkers, both Western and Eastern . In Chapter Two, Wilde writes revealingly: “Behind every exquisite thing that existed, there was something tragic.” Essentially, of course, Dorian Gray is the Faust story combined with Robert Louis Stevenson's The Strange Case of Dr Jekyll and Mr Hyde (1886) ; while the “book bound in yellow paper” (Chapter Ten) with which the dandyish Lord Henry Wotton tempts – and seeks to control – young Dorian is J.K. Huysmans' misanthropic A Rebours/Against the Grain (1884). The literary critic in Wilde is at his most brilliant in such a passage as this:

It [A Rebours] was a novel without a plot, and with only one character, being indeed, simply a psychological study of a certain young Parisian, who spent his life trying to realize in the nineteenth century all the passions and modes of thought that belonged to every century except his own, and to sum up, as it were in himself the various moods through which the world-spirit had ever passed… The style in which it was written was that curious jewelled style… that characterizes the work of some of the finest artists of the French school of Symbolistes. … The mere cadence of the sentences… produced in the mind of the lad, as he passed from chapter to chapter, a form of reverie, a malady of dreaming, that made him unconscious of the falling day and creeping shadows.

Very palpably, there's a foretaste here of Vertigo (1958). Especially striking is the quest for something that can halt time itself and sum up all human experience. In seeming to offer this to Dorian, Lord Henry is “playing on the lad's unconscious egotism” (Chapter Eight). Earlier, he had exhorted him: “Live! Live the wonderful life that is in you! Let nothing be lost upon you. Be always searching for new sensations. Be afraid of nothing.” (Chapter Two) In Vertigo, the Mephistophelean Gavin Elster (Tom Helmore) tempts Scottie (James Stewart) with “colour, excitement, power, freedom” and sends the ancestor-obsessed Madeleine (Kim Novak) to seduce him. The trap begins to take effect in the scenes where she leads Scottie around San Francisco. I once wrote of Vertigo:





Filmography

As Director
Number Thirteen (1921) unfinished
Always Tell Your Wife (1922) completed with Seymour Hicks when original director fell ill
The Pleasure Garden (1925) Gainsborough
The Mountain Eagle (1926) Gainsborough; US title Fear o' God
The Lodger (1926) Gainsborough; US title A Story of the London Fog
Downhill (1927) Gainsborough; US title When Boys Leave Home
Easy Virtue (1927) Gainsborough
The Ring (1927) British International Pictures (B.I.P.)
The Farmer's Wife (1928) B.I.P.
Champagne (1928) B.I.P.
The Manxman (1929) B.I.P.
Blackmail (1929) B.I.P.
Juno and the Paycock (1930) B.I.P.
Murder! (1930) B.I.P.
Mary (1930) German version of Murder!
The Skin Game (1931) B.I.P.
Rich and Strange (1932) B.I.P.; US title East of Shanghai
Number Seventeen (1932) B.I.P.
Waltzes from Vienna (1932) Tom Arnold; US title Strauss' Great Waltz
The Man Who Knew Too Much (1934) Gaumont British
The 39 Steps (1935) Gaumont British
Secret Agent (1936) Gaumont British
Sabotage (1936) Gaumont British; US title A Woman Alone
Young and Innocent (1937) Gainsborough/Gaumont British; US title The Girl Was Young
The Lady Vanishes (1938) Gainsborough
Jamaica Inn (1939) Mayflower
Rebecca (1940) Selznick
Foreign Correspondent (1940) Walter Wanger/United Artists
The House Across the Bay (1940) Walter Wanger/United Artists (uncredited scenes)
Mr. and Mrs. Smith (1941) R.K.O.
Suspicion (1941) R.K.O.
Saboteur (1942) Universal
Shadow of a Doubt (1943) Universal
Lifeboat (1944) Twentieth Century Fox
Bon Voyage (1944) Phoenix/British Ministry of Information
Aventure Malgache (1944) Phoenix/British Ministry of Information
Watchtower Over Tomorrow (1945) League of Nations (uncredited scenes)
Spellbound (1945) Selznick
Notorious (1946) R.K.O.
The Paradine Case (1947) Selznick
Rope (1948) Transatlantic/Warner Brothers
Under Capricorn (1949) Transatlantic/Warner Brothers
Stage Fright (1950) A.B.P.C./Warner Brothers
Strangers on a Train (1951) Warner Brothers
I Confess (1953) Warner Brothers
Dial M for Murder (1954) Warner Brothers
Rear Window (1954) Paramount
To Catch a Thief (1955) Paramount
The Trouble with Harry (1955) Paramount
The Man Who Knew Too Much (1956) Paramount
The Wrong Man (1957) Warner Brothers
Vertigo (1958) Paramount
North by Northwest (1959) MGM
Psycho (1960) Paramount
The Birds (1960) Universal
Marnie (1964) Universal
Torn Curtain (1966) Universal
Topaz (1969) Universal
Frenzy (1972) Universal
Family Plot (1976) Universal




ALTEKAR PARSHWANATH

Mainly marathi director born in Kharepatan,Ratnagiri.Also worked in Hindi,Tamil and Kannada.Educated in kolhapur and obtained arts degree from Wellington College In Sangali.Studied Law in Bombay but turned to the theatre, acting in the first play he directed ,Rajsanyas,in 1922.Marathi writer Mama warerkar influenced Altekar's theatrical work as well as his shift to films , later providing songs and dialogues for the director 's Geeta .
Film debut in Joshi's Prithvi Wallahb.The following year ( 1925) he joined the United pics.Syndicate where he played a series of major roles in Maratha historials.( Encyclopaedia of Indian Cinema)







ALTEKAR PARSHWANATH

Director:
1940s
1930s
1920s
1 Mahatma Vidur (1943)
... aka Saint Vidur
2 Geeta (1940/I)
3 Geeta (1940/II)

4 Mera Haq (1939)
... aka Sukhacha Shodh (India: Marathi title)
5 Saathi (1938/I)
... aka Companion
6 Savangadi (1938)
7 Bhishma Pratigna (1936)
8 Parvathi Kalyanam (1936)
... aka Parvathi's Wedding
9 Pati Bhakti (1936)
... aka Worship of Husband (India: English title)
10 Bhakta Dhruva (1934)
... aka Dhruva Kumar
11 Chhatrapati Sambhaji (1934)
... aka Emperor Sambhaji
12 Vasavdatta (1934)
... aka Shahi Gawaiyya
... aka The Royal Musician
13 Janma Haqq (1931)
... aka Birthright

14 Gori Bala (1929)
... aka Hell's Paradise
15 Vasil Ni Raat (1929)
... aka Vasil Ki Raat
... aka Wedding Night
16 Draupadi Vastraharan (1928)
... aka The Royal Gambler
17 Jagadguru Shrimad Shankaracharya (1928)
... aka The World Teacher
... aka World Teacher Shankaracharya
18 Jugari Dharma (1927)
... aka The Nature of the Gambler
19 Shoor Killedarin (1926)
... aka A Fair Warrior (India: English title)
... aka Brave Woman Commander of the Fort