Editing Alfred Hitchcock (section)

===Post-war Hollywood years: 1945–1953===
====Later Selznick films====
[[File:Spellbound-1945.jpg|thumb|left|[[Gregory Peck]] and [[Ingrid Bergman]] in ''[[Spellbound (1945 film)|Spellbound]]'' (1945)]]
Hitchcock worked for David Selznick again when he directed ''[[Spellbound (1945 film)|Spellbound]]'' (1945), which explores [[psychoanalysis]] and features a [[dream sequence]] designed by [[Salvador Dalí]].<ref>{{cite web |last=Boyd |first=David |title=The Parted Eye: ''Spellbound'' and Psychoanalysis |url=https://www.sensesofcinema.com/2000/conference-for-the-love-of-fear/spellbound/ |year=2000 |url-status=live |archive-url=https://web.archive.org/web/20090211104103/http://archive.sensesofcinema.com:80/contents/00/6/spellbound.html |archive-date=11 February 2009}}</ref> The dream sequence as it appears in the film is ten minutes shorter than was originally envisioned; Selznick edited it to make it "play" more effectively.<ref>{{harvnb|Leff|1987|pp=164–165}}</ref> [[Gregory Peck]] plays amnesiac Dr. Anthony Edwardes under the treatment of analyst Dr. Peterson ([[Ingrid Bergman]]), who falls in love with him while trying to unlock his repressed past.{{sfn|Whitty|2016|pp=408–412}} Two [[Point-of-view shot|point-of-view]] shots were achieved by building a large wooden hand (which would appear to belong to the character whose point of view the camera took) and out-sized props for it to hold: a bucket-sized glass of milk and a large wooden gun. For added novelty and impact, the climactic gunshot was hand-coloured red on some copies of the black-and-white film. The original musical score by [[Miklós Rózsa]] makes use of the [[theremin]], and some of it was later adapted by the composer into Rozsa's Piano Concerto Op. 31 (1967) for piano and orchestra.<ref>{{cite web |title=The Miklos Rozsa Society Website |url=http://www.miklosrozsa.info/mrs/works/aboutPianoConcerto.html |year=2017 |access-date=13 December 2017 |archive-url=https://web.archive.org/web/20160324124603/http://www.miklosrozsa.info/mrs/works/aboutPianoConcerto.html |archive-date=24 March 2016 |url-status=live}}</ref>{{failed verification|date=December 2017}}

<!--mention ''The Paradine Case'' (1947) and the Motion Picture Production Code-->The spy film ''[[Notorious (1946 film)|Notorious]]'' followed next in 1946. Hitchcock told François Truffaut that Selznick sold him, Ingrid Bergman, Cary Grant and [[Ben Hecht]]'s screenplay, to [[RKO Radio Pictures]] as a "package" for $500,000 (equivalent to ${{Inflation|US|0.5|1946|r=1}}&nbsp;million in {{Inflation/year|US}}) because of cost overruns on Selznick's ''[[Duel in the Sun (film)|Duel in the Sun]]'' (1946).{{citation needed|date=January 2018}} ''Notorious'' stars Bergman and Grant, both Hitchcock collaborators, and features a plot about Nazis, [[uranium]] and South America. His prescient use of uranium as a plot device led to him being briefly placed under surveillance by the [[Federal Bureau of Investigation]].{{Sfn|Truffaut|1983|p=168}} According to Patrick McGilligan, in or around March 1945, Hitchcock and Hecht consulted [[Robert Millikan]] of the [[California Institute of Technology]] about the development of a uranium bomb. Selznick complained that the notion was "science fiction", only to be confronted by the news of the detonation of two atomic bombs on [[Hiroshima and Nagasaki]] in Japan in August 1945.{{sfn|McGilligan|2003|pp=370–371}}

====Transatlantic Pictures====
[[File:Ropetrailer2.jpg|thumb|A typical shot from ''[[Rope (film)|Rope]]'' (1948) with [[James Stewart]] turning his back to the fixed camera|alt=A typical scene from ''[[Rope (film)|Rope]]'' showing [[James Stewart]]]]

Hitchcock formed an independent production company, [[Transatlantic Pictures]], with his friend [[Sidney Bernstein, Baron Bernstein|Sidney Bernstein]]. He made two films with Transatlantic, one of which was his first colour film. With ''[[Rope (film)|Rope]]'' (1948), Hitchcock experimented with marshalling suspense in a confined environment, as he had done earlier with ''Lifeboat''. The film appears as a very limited number of continuous shots, but it was actually shot in 10 ranging from {{frac|4|1|2}} to 10 minutes each; a 10-minute length of film was the most that a camera's film magazine could hold at the time. Some transitions between reels were hidden by having a dark object fill the entire screen for a moment. Hitchcock used those points to hide the cut, and began the next take with the camera in the same place. The film features [[James Stewart]] in the leading role, and was the first of four films that Stewart made with Hitchcock. It was inspired by the [[Leopold and Loeb]] case of the 1920s.{{Sfn|McGilligan|2003|p=421}} Critical response at the time was mixed.{{sfn|Evans|2004|p=}}

''[[Under Capricorn]]'' (1949), set in 19th-century Australia, also uses the short-lived technique of long takes, but to a more limited extent. He again used [[Technicolor]] in this production, then returned to [[black-and-white]] for several years. Transatlantic Pictures became inactive after the last two films.{{Sfn|Spoto|1999|p=138}}{{Sfn|Taylor|1996|p=179}} Hitchcock filmed ''[[Stage Fright (1950 film)|Stage Fright]]'' (1950) at [[Elstree Studios (Shenley Road)|Elstree Studios]] in England, where he had worked during his British International Pictures contract many years before.<ref>{{harvnb|Warren|2001|pp=62, 72}}</ref> He paired one of [[Warner Bros.]]' most popular stars, [[Jane Wyman]], with the expatriate German actor [[Marlene Dietrich]] and used several prominent British actors, including [[Michael Wilding]], [[Richard Todd]] and [[Alastair Sim]].<ref>{{harvnb|Harris|Lasky|2002|p=150}}</ref> This was Hitchcock's first proper production for Warner Bros., which had distributed ''Rope'' and ''Under Capricorn'', because Transatlantic Pictures was experiencing financial difficulties.<ref>{{harvnb|McGilligan|2003|pp= 429, 774–775}}</ref>

<!--Mention that, after falling out with Raymond Chandler, Hitchcock hired Czenzi Ormonde to work with Barbara Keon and Alma Reville; say more about the film, "crisscross", and murder in spectacles scene-->His thriller ''[[Strangers on a Train (film)|Strangers on a Train]]'' (1951) was based on the [[Strangers on a Train (novel)|novel of the same name]] by [[Patricia Highsmith]]. Hitchcock combined many elements from his preceding films. He approached [[Dashiell Hammett]] to write the dialogue, but [[Raymond Chandler]] took over, then left over disagreements with the director. In the film, two men casually meet, one of whom speculates on a foolproof method to murder; he suggests that two people, each wishing to do away with someone, should each perform the other's murder. [[Farley Granger]]'s role was as the innocent victim of the scheme, while [[Robert Walker (actor, born 1918)|Robert Walker]], previously known for "boy-next-door" roles, played the villain.<ref>{{harvnb|Leitch|2002|pp=320, 322}}</ref> ''[[I Confess (film)|I Confess]]'' (1953) was set in [[Quebec City|Quebec]] with [[Montgomery Clift]] as a Catholic priest.<ref>{{cite web |url=https://www.tcm.com/tcmdb/title/78777/i-confess#notes |title=Notes: ''I Confess'' (1953) |publisher=TCM |access-date=15 December 2017 | archive-url=https://web.archive.org/web/20181122032808/http://www.tcm.com/tcmdb/title/78777/I-Confess/notes.html | archive-date=22 November 2018 | url-status=live}}</ref>