I remember when I first got into film and started reading about Hitchcock, it was called one of the "lost Hitchcocks", these films to which Hitch retained the rights and which therefore hardly ever appeared on TV. Rope and Rear Window were among the others. That may have something to do with its late appraisal. But also, maybe the fact they were hard to see added to their allure!

The French critics were the first I think to champion Hitchcock as more than just a master of suspense. And in the 1990's both Roger Ebert and Andrew Sarris wrote that Vertigo was a masterpiece. In 2007 in Cahiers du Cinema's top 100 list, Vertigo came in 8th best, if I remember correctly.

@@willieluncheonette5843 Good enough! Much appreciated.

@@mauricioduron3193 my pleasure. thank you

Thanks for posting! Nice to see some love for Foreign Correspondent - very underrated.

What, you mean it should be top? I know what you mean!!! (Tee hee)

Nice to see someone speak up for The Paradine Case. It's not as bad as everyone makes out.

great list, bro!

Thanks, mate!

Totally agreed!

Thanks for posting, Mark. Great to see some love for Lifeboat and Young and Innocent, which are superb but regularly overlooked. I'd have put Marnie and Blackmail higher - and no love for The Lady Vanishes! I'm guessing you're not a fan of long-take Hitchcock - Rope and Under Capricorn. I like the former a lot, I have to say. The Wrong Man? Fascinating list, though. And our top five are pretty much the same!

Yeah, they're two fantastic performances. I feel guilty leaving out Strangers, but then Lifeboat and Foreign Correspondent and The Wrong Man are wonderful too.

@@michaelbartlettfilm I hear you. With Hitch, it's SO HARD. ps, I also love Marnie more than most people. I showed it to my wife, and she was like..."really?" At least she liked "Notorious"

Thanks for posting, Mauricio!

@@michaelbartlettfilm It's very rewarding to find how much our choices match. All ten titles acomplished so closely, like rated between 8.5/10 to 10/10, that others necessarily get left out. I recognize every virtue that you attribute 'The Birds' (8.0/10?). The masterfully deceptive interaction between Annie and Melanie in the sequence that you single out. The suspenseful early one where, for 9+ minutes, sans dialogue, Melanie takes the lovebirds across Bodega Bay to Mitch's and back. (Ask Brian De Palma to describe his recollection of how he first responded to it?) 'Psycho', a landmark piece in motion picture History, yet, ironically, with so striking an ending that it absorbs the brilliance of the early parts of the narrative to the extent that perhaps film enthusiasts alone would choose experiencing it more than a couple of times. The riches in 'Vertigo', on the other hand, are manyfold: the relatively subdued resolution does not detract from the eerie ambivalence of what takes place earlier, especially the long drive where Scottie (and Bernard Hermann) follow Madeleine through the streets of San Francisco. Unfortunately, the basic premise was used by too many movies made afterwards, so they who come to 'Vertigo' late may find it predictable. Will enthusiastically follow your contributions.

@@mauricioduron3193 Thanks, Mauricio. And I hear now that they're doing a remake of Vertigo with Robert Downey Jr! I agree with you about Psycho versus The Birds and Vertigo; Psycho is brilliant in many ways but feels contained, whereas The Birds and Vertigo grow on each viewing, and if anything become even more troubling. (In a good way.)

@@michaelbartlettfilm To re-make 'Vertigo', you say! Bite your tongue...🧐

A 'Citizen Kane' re-make just as well...

The scene where the camera tracks back down the stairs in Frenzy is one of Hitch's greatest moments. As is the death of Juanita in Topaz, the camera looking down from above as her dress billows out like a bloodstain. Perverse genius.

@@michaelbartlettfilm Plus all the atmosphere of old London in Frenzy and the running theme of the deadful cooking it's those little things that gave Hitch his edge mixing big with touches of everyday triviality

@@garybryant5946 Ah, Covent Garden flower market...

Thanks for posting, Davy!

@@michaelbartlettfilm You're welcome, Michael !

Thanks for posting! Frenzy...that shot pulling away from the closed door down the stairs...

@@michaelbartlettfilm I knew you were going to mention that shot when you said there were 2 moments you admired from his later work. :) My own favourite sequence is the killer's attempt to get his tie pin back from the corpse. There's just nothing like that in any other film. And Anna Massey's murder is one of the most shocking and visceral I think I've ever seen.

Hi, Mauricio. All worthy of mention, but I'm trying to streamline my commentary a little, otherwise I'll ramble on forever! I think my intros are already getting too long. The Leopold and Loeb case is fascinating. I'm afraid I haven't seen Compulsion, though.

@@michaelbartlettfilm Understood. Thank you.

Great to see some love for Notorious and Lifeboat - I adore those movies and feel they're often overlooked. I need to watch Sabotage again, it's been a while since I watched it, and I'd just read the Conrad novel, so that interfered with my enjoyment. As for Shadow, I know it was Hitch's favourite and it's a popular film, but I've never quite been able to get into it. Dare I say it, I find Joseph Cotten a bit boring. I know, heresy! But I'm going to revisit it soon. Thanks for posting your top ten!

Ha, ha! I think I'm the only person in the universe who doesn't like Back to the Future!

@@michaelbartlettfilm I understood most of your picks but Back to the Future? It´s 2 hours of pure joy! Don´t worry though, hasn´t put me off subscribing.

No, you are not. ;)@@michaelbartlettfilm

@@anrun There's two of us! Yes!

Nice to see someone sticking up for The Paradine Case. I never thought it was as awful as people say.

@michaelbartlettfilm Not at all awful. Detective mystery,psychological thriller,professional failure of the protagonist and forbidden romance all in one