Hitchcock's Auteur Theory

When we think of the greatest films in history, certain names come to mind: Griffith, Murnau, Kuleshov, Hitchcock, Spielberg, Tarantino, and the list goes on. Good movies allow actors to be praised for years, but great movies make their directors indelible for centuries. The director of a film is equal to a novel writer, which defines the auteur theory (Module 13). The auteur theory(politique des auteurs) gives special attention to film directors over any other role in the filmmaking process, arguing that a film is a reflection of the director’s artistic vision. The man behind the theory just so happened to be one of the most recognized directors of the French New Wave, François Truffaut, who stood at the heart of the movement, starting in

the mid-1950s (Gomery and Pafort-Overduin 299). The French New Wave shone a light to emphasize the importance of the world’s prominent directors at the time, and the theory continues to be in discussion. When thinking about the most well-known auteurs, the discussion of the works of Charlie Chaplin, Alfred Hitchcock, and Steven Spielberg are significant.
The auteur theory focuses on directors being the artist on its film; but in discussing Charlie Chaplin, he had complete control over his work by the 1920s. In the early 1910s, Chaplin came to the United States to learn all aspects of directing, particularly in comedy, becoming “undoubtedly one of the greatest stars as the Classical Hollywood Narrative Style began to dominate” (Gomery and Pafort-Overduin 74). Chaplin started his career acting in projects for Mack Sennett. During that time his created and perfected his character, known as the “Little Tramp,” which included baggy pants, a cane, derby hat, oversized shoes, a tiny jacket, and his signature mustache. After breaking out on his own, he became a director-star. After his full partnership in United Artists, with Mary Pickford, D.W. Griffith, and Douglas Fairbanks, Chaplin would go on to produce, write, compose music, and direct “all the films he would make for the next 40 years” (Gomery and Pafort-Overduin 75). Even though Chaplin could perform various roles masterfully, he applies to the auteur theory because his insight as a director is his highest regard, as we saw him take 342 takes to obtain the perfect scene for his film City Lights (1931) (Module 4). With his aptitude, Chaplin, as a director, was able to use his tools to his advantage, mainly himself as an actor, becoming one of the first global movie stars. His influence was noteworthy that people would still see Chaplin’s new silent films after Hollywood made the move to sound. Having complete control over his films allowed Chaplin to become a “notorious perfectionist,” proving the auteur theory to be true that directors do hold the pen.
Alfred Hitchcock directed films in the “First Golden Age of Hollywood Movie Making” (Gomery and Pafort-Overduin 187).

But before Hitchcock became a household name, he got his start writing inter-titles in the British film industry in the early 1920s. He directed his first film, The Pleasure Garden (1925), during the coming of sound. He continued to hone his craft during the Golden Age of British film, becoming the editing expert that he known to be, but it was the film The 39 Steps (1935) that earned him his ticket to Hollywood. Hitchcock was later hired by Lew Wasserman to work at Universal because no one “doubted his ability to draw audiences” (Gomery and Pafort-Overduin 256). At Universal is where Hitchcock made some of his most notable work, including The Birds (1963) and Marnie (1964). Although Hitchcock was most celebrated for his films, he also gained high regard by working in television, crafting a popular series called “Alfred Hitchcock Presents,” becoming “the most famous director in the United States, if not the world” at the time (Gomery and Pafort-Overduin 267). He represented the rare filmmaker that could perfect his craft as a director while remaining extremely favored among his audience. His film Notorious (1946) was celebrated by Truffaut, calling it “the very quintessence of Hitchcock” (Gomery and Pafort-Overduin 267). Soon the French New Wave would be inspired by Hitchcock, the “master of the Classical Hollywood system of filmmaking.” Not only did Hitchcock inspire a movement, but he taught a lesson. He showed himself and his audience what good happens when you follow the Classical Hollywood style of filmmaking, and what happens when you don’t. In his film Rope (1948), Hitchcock made an 80-minute film in seemingly one continuous take without any cuts; it was a box-office failure. After that failure, Hitchcock produced some of his best work, including “one of the great examples of Classical Hollywood filmmaking of its time,” Psycho (1960) (Gomery

and Pafort-Overduin 268). As one of the most influential directors in history, Hitchcock not only proves the auteur theory to be true, but he attributes to the popularization of the idea.
Lastly, Steven Spielberg is known as one of the greatest directors of our generations, but for him to become great, he was influenced by prominent directors like Hitchcock, the auteur theory, and film school, becoming the first of few “movie brats” (Module 14). But before Spielberg became the film titan that he is today, he worked in television, directing shows and TV films. Spielberg became a part of the Film School Generation, soon to be the American New Wave because they were influenced by the French New Wave. Spielberg saw what Hollywood was like and was determined to make it different, attributing to the creation of the Blockbuster phenomenon. Many critics and historians point to Spielberg’s film Jaws (1975) as the beginning of the Hollywood Blockbuster era. Jaws, the first true blockbuster, went on to make $470.7 million worldwide, becoming the highest grossing film of all time until Star Wars was released (Module 17). The film became such a cultural phenomenon that it is has been replayed every summer since 1975 (Gomery and Pafort-Overduin 285). Spielberg went on to direct cult classics such as E.T. the Extra-Terrestrial (1982), Jurassic Park (1993), The Color Purple (1985), and recently The Post (2017). Spielberg continues to make his mark as a director by changing Hollywood, paving the contemporary filmmaking and being a living example of what an auteur today looks like.
Chaplin, Hitchcock, and Spielberg are canonized for their contributions to films, although they have their distinct differences. Chaplin’s works centered around a character and comedy, while Hitchcock pulled from psychoanalytical themes and dramas; Spielberg directed films in various genres. Chaplin and Hitchcock worked during the shifts in the industry, going from silent films to color and sound, while Spielberg helped bring Hollywood into a new era. Hitchcock and Spielberg both worked in television and cinema film, but Spielberg is more known for his films above anything. Regardless, who did what and how much money they made, their directorial works will be examples to look up to for years to come. These three men changed Hollywood in their own ways, Chaplin by setting the precedent as a director and an actor, Hitchcock by being able to direct eloquently in film and television, and Spielberg by being a part of the film school to usher in a New American Cinema. The role of the director is the most important role in cinema culture because the director is tasked with taking an idea, a thought, or a novel as Spielberg did with Jaws and turning it into a masterpiece. Directors make words on a page live on a screen and in the minds of their audiences forever, and these three auteurs did just that.