Originally appearing in Metropolis Magazine as "Hitchcock and the Architecture of Suspense," this article by Samuel Medina reviews Steven Jacobs' book The Wrong House: The Architecture of Alfred Hitchcock, which uses expert analysis and reconstructed floor plans to examine how the master created suspense with his sets. In the films of Alfred Hitchcock, things happen, but the events that gave rise to them are easily forgotten. You quickly forget how A leads to B or, say, by what elaborate means Roger Thornhill ends up at Mt. Rushmore in North by Northwest. But as the French filmmaker Jean-Luc Godard observed, the Hitchcockian cinema compels not with story, but with images—the open-palmed hand reaching for the door, the simulated fall down the staircase, the whorling retreat of the camera from a dead woman’s face. These stark snippets imbue the films with their uncanny allure and imprint themselves in the mind of the spectator much more effectively than any of the master’s convoluted plots.
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