Alfred Hitchcock: Revizyonlar arasındaki fark
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In 1955 Hitchcock became a United States citizen.<ref>{{harvnb|McGilligan|2003|p= 512}}</ref> The same year, his third Grace Kelly film, ''[[To Catch a Thief]]'', was released; it is set in the French Riviera, and pairs Kelly with Cary Grant. Grant plays retired thief John Robie, who becomes the prime suspect for a spate of robberies in the Riviera. A thrill-seeking American heiress played by Kelly surmises his true identity and tries to seduce him. "Despite the obvious age disparity between Grant and Kelly and a lightweight plot, the witty script (loaded with double entendres) and the good-natured acting proved a commercial success."<ref name="Leitch 2002. p. 366">{{harvnb|Leitch|2002|p=366}}</ref> It was Hitchcock's last film with Kelly. She married [[Prince Rainier]] of Monaco in 1956, and ended her film career. Hitchcock then remade his own [[The Man Who Knew Too Much (1934 film)|1934 film]] ''The Man Who Knew Too Much'' [[The Man Who Knew Too Much (1956 film)|in 1956]]. This time, the film starred James Stewart and [[Doris Day]], who sang the theme song "[[Que Sera, Sera (Whatever Will Be, Will Be)|Que Sera, Sera]]", which won the [[Academy Award for Best Original Song|Oscar for Best Original Song]] and became a big hit for her. They play a couple whose son is kidnapped to prevent them from interfering with an assassination. As in the 1934 film, the climax takes place at the [[Royal Albert Hall]], London.<ref>{{harvnb|Brown|1994|p=75}}</ref>
<!--January 1957: hernia surgery; March 1957: gallbladder removed-->''[[The Wrong Man]]'' (1957), Hitchcock's final film for Warner Bros., is a low-key black-and-white production based on a real-life case of mistaken identity reported in ''Life'' magazine in 1953. This was the only film of Hitchcock to star [[Henry Fonda]], playing a Stork Club musician mistaken for a liquor store thief, who is arrested and tried for robbery while his wife ([[Vera Miles]]) emotionally collapses under the strain. Hitchcock told Truffaut that his lifelong fear of the police attracted him to the subject and was embedded in many scenes.<ref name="Leitch 2002. p. 377">{{harvnb|Leitch|2002|p=377}}</ref><!--this needs sources and a rewrite: At the height of Hitchcock's success in 1956, he was asked to introduce a set of short-story collections with his name attached. Titles included ''[[Alfred Hitchcock's Anthology]]'', ''Alfred Hitchcock Presents: Stories to be Read with the Door Locked'', and ''Alfred Hitchcock's Stories Not For the Nervous''.{{efn|Writers whose works were used include [[Shirley Jackson]] (''Strangers in Town'', ''[[The Lottery]]''), [[T. H. White]] (''[[The Once and Future King]]''), [[Robert Bloch]], [[H. G. Wells]] (''[[The War of the Worlds (novel)|The War of the Worlds]]''), [[Robert Louis Stevenson]], [[Arthur Conan Doyle|Sir Arthur Conan Doyle]], [[Mark Twain]] and the creator of ''[[The Three Investigators]]'', [[Robert Arthur (writer)|Robert Arthur]].}}{{citation needed|date=December 2017}} In a similar manner, Hitchcock's name was licensed for a digest-sized monthly, ''[[Alfred Hitchcock's Mystery Magazine]]'', which has been published since 1956.{{citation needed|date=December 2017}}-->
<!--1957, [[Claude Chabrol]] and [[Éric Rohmer]], first book-length study of his work--><!--moved this from the "relationship with actors" section: In the late 1950s, [[French New Wave]] critics, especially Truffaut, [[Claude Chabrol]] and [[Éric Rohmer]], were among the first to see and promote Hitchcock's 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 filmmaking process.<ref name="Moerbeek2006">{{harvnb|Moerbeek|2006|loc=}}</ref>{{page needed|date=December 2017}}-->[[File:Vertigo 1958 trailer Kim Novak at Golden Gate Bridge Fort Point.jpg|thumb|alt=Still image from the film Vertigo|[[Kim Novak]] by the [[Golden Gate Bridge]] in ''[[Vertigo (film)|Vertigo]]'' (1958){{efn|A 2012 [[British Film Institute]] poll ranked ''Vertigo'' as the [[Sight & Sound#2012|greatest film ever made]].<ref name=Christie2012>{{cite news |last=Christie |first=Ian |title=The 50 Greatest Films of All Time |url=http://www.bfi.org.uk/news/50-greatest-films-all-time |work=Sight & Sound |date=September 2012 |accessdate=29 December 2017|archive-url=https://web.archive.org/web/20170301135739/http://www.bfi.org.uk/news/50-greatest-films-all-time|archive-date=1 March 2017|url-status=live}}; also see {{cite news |title=Critics' top 100 |url=http://www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/critics |publisher=British Film Institute |year=2012|access-date=29 December 2017|archive-url=https://web.archive.org/web/20160207035347/http://www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/critics|archive-date=7 February 2016|url-status=live}}</ref>}}]]
Hitchcock's next film, ''[[Vertigo (film)|Vertigo]]'' (1958) again starred James Stewart, this time with [[Kim Novak]] and [[Barbara Bel Geddes]]. He had wanted [[Vera Miles]] to play the lead, but she was pregnant. He told [[Oriana Fallaci]]: "I was offering her a big part, the chance to become a beautiful sophisticated blonde, a real actress. We'd have spent a heap of dollars on it, and she has the bad taste to get pregnant. I hate pregnant women, because then they have children."{{sfn|Fallaci|1963}}
In the film, James Stewart plays Scottie, a former police investigator suffering from [[acrophobia]], who develops an obsession with a woman he has been hired to shadow (Kim Novak). Scottie's obsession leads to tragedy, and this time Hitchcock does not opt for a happy ending. Some critics, including [[Donald Spoto]] and [[Roger Ebert]], agree that ''Vertigo'' is the director's most personal and revealing film, dealing with the ''[[Pygmalion (mythology)|Pygmalion]]''-like obsessions of a man who crafts a woman into the woman he desires. ''Vertigo'' explores more frankly and at greater length his interest in the relation between sex and death than any other work in his filmography.<ref>{{harvnb|Kehr|2011|p=259}}</ref>
<!--say something about the camera technique-->''Vertigo'' contains a camera technique developed by Irmin Roberts, commonly referred to as a [[dolly zoom]], that has been copied many times by filmmakers. The film premiered at the [[San Sebastián International Film Festival]], where Hitchcock won a Silver Seashell.<ref>{{cite web |title=Donostia Zinemaldia Festival de San Sebastian International Film Festival |url=http://www.sansebastianfestival.com/2007/es3/portada.php |accessdate=23 August 2017 |archiveurl=https://web.archive.org/web/20080306044915/http://www.sansebastianfestival.com/2007/es3/portada.php |archivedate=6 March 2008| url-status=live}}</ref>{{failed verification|date=December 2017}} ''Vertigo'' is considered a classic, but it attracted some negative reviews and poor box-office receipts at the time, and it was the last collaboration between Stewart and Hitchcock.<ref name="Leitch 2002. p. 376-77">{{harvnb|Leitch|2002|p=376}}</ref>{{Request quotation|date=December 2017}} In the 2002 ''[[Sight & Sound]]'' polls, it ranked just behind ''[[Citizen Kane]]'' (1941); ten years later, in the same magazine, critics chose it as the best film ever made.<ref name=Christie2012/>
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