But writing in 1958 about Ingmar Bergman, he came up with a sharp riff that put Hitchcock in his place-albeit, an exalted one:
These critics, based at Cahiers du Cinéma, were known as the Hitchcocko-Hawksians the first of them to write about Hitchcock was the twenty-one-year-old Jean-Luc Godard, in 1952 (the subject was “Strangers on a Train”). Hitchcock was canonized by the young critics of the early fifties who, by decade’s end, became the filmmakers of the French New Wave. He didn’t have to be copied, because other filmmakers were swimming in the same current at the same time.) (Stanley Kubrick is an equally controlling director, but his sense of control is built into his movies as a part of his stories, and their denatured chill is one of the prime modes of cinematic modernism.
But Hitchcock’s sense of perfection achieved through control lends itself to an especially neurotic and self-defeating form of influence. Hitchcock, who was born on this day in 1899, stretched his own aesthetic, too-in part as a result of coming to Hollywood in the age of Orson Welles and independent production, the two great liberators of directorial vision in the forties and fifties.
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