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Takashi Fujimura's essay

"Hitchcock-Hawksism: Hitchcock cannot film 'Stagecoach' ～2014.12.26

Chapter 1

■Canadian Traveler

Hitchcock's film "The 39 Steps" (June 6, 1935), shot during his time in England, tells the story of Robert Donat, a Canadian traveler who is embroiled in a case involving the leaking of state secrets in England and is accused of murder, and who solves the case while fleeing from London to Scotland and back to London. But why is Robert Donat a Canadian traveler? Why is Robert Donat a Canadian traveler, and not an English police officer or intelligence officer?

★The Involved Type and Occupation

● "The 39 Steps" is an example of the often-mentioned "involved type" of Hitchcock film, in which the protagonist, framed for a murder he did not commit, evades the police and goes on the run, solving the case with the help of a woman he meets along the way. Hitchcock continued to use this "involved type" in subsequent films, including ● "Young and Innocent" (November 1937), "Saboteur" (April 22, 1942), and ● "North by Northwest" (July 1, 1959). In the first of these, "The 39 Steps," Robert Donat, a murder suspect, travels by train from London to a Scottish farmhouse and heads to the mansion of an enemy spy. Handcuffed to a young woman (Madeleine Carroll) he meets along the way, he engages in an undertaking that can hardly be described as either an escape or an investigation. However, he is merely a tourist on vacation in London from Canada renting an apartment, and is not suited to protecting British state secrets or conducting investigative activities. This is precisely why he is "involved" in the case. If he were a British intelligence agent or other government official with a legal obligation to protect state secrets, his situation would not be "involved" but "performing his duties." His undertaking would be rationally driven by his expertise, experience, and connections. Even if he were suspected of the crime and suspended or suspended, his abilities, intelligence, and connections clearly outweigh those of a "tourist from Canada." Despite his skills, he isn't passively caught up in the case; he is an active and proactive agent who pursues and solves it. However, Robert Donat in "The 39 Steps" is neither British nor an intelligence agent. With no specialized knowledge, experience, or connections related to the case, his activism is far removed from the performance of his duties. The actual activism and his duties are separated. Wanted as a murder suspect, he runs from place to place without any allies. Along the way, Madeleine Carroll, who happens to be handcuffed with him, also suspects him. Surrounded by enemies, he has very few cards in his hand to go against the flow and solve the case of his own volition. Forced to engage in an activism far removed from his profession, he is stripped of his "proactive" and can only become embroiled in it.

● "Young and Innocent" is a "caught up in the situation" type of story in which novelist Derrick De Marney is suspected of murder after accidentally discovering the body of a female acquaintance on the Scottish coast and goes on the run. However, the protagonist, Derrick De Marney, is a novelist and a complete amateur when it comes to murder investigation, and his abilities as a novelist are of no use in the case.In● "Saboteur," Robert Cummings, a suspect in sabotaging a California airplane factory and on the run, is merely a civilian, a weapons factory worker with no connection to the sabotage or the investigative authorities. He is mistaken for an American spy, abducted by the enemy, framed for murder at the United Nations building, and flees as fast as he can. Cary Grant in "North by Northwest" is an advertising agent and a civilian with no connection to intelligence agents. When intelligence agent Leo G. Carroll asks him to cooperate in an investigation, he replies, "I'm an advertising agent, not a professional spy." As the film states, the protagonists of the "caught-up" type are caught up in the action precisely because they are unable to make use of their professional skills, such as being a novelist, a weapons factory worker, or working in advertising. Among them, Robert Donat from "The 39 Steps" is given fragmentary information, being a "tourist from Canada," but what exactly is he doing in Canada? He asks the owner of a Scottish farmhouse, "I'm a car mechanic. Do you have any work for me?" but it is never stated or shown in the film whether this is actually his profession or just a ploy to find out more information, or what skills he has in the first place.

★ Local Knowledge

Robert Donat's Canadian traveler status not only means he lacks the expertise to deal with the leak of state secrets, but also the local knowledge of England. Drifting from London to Scotland and back to London, he tells Peggy Ashcroft, a Scottish farmer's wife, "I know about Edinburgh and London," but this is merely the level of knowledge he has as a Canadian tourist; he has no local knowledge of Scotland. ● In "North by Northwest," Cary Grant boards a bus bound for Indianapolis, gets off at a bus stop called Prairie, and is attacked by a crop duster, fleeing into a cornfield. Cary Grant's lack of local knowledge, thrown onto an unfamiliar farm road and not knowing his way around, is an important element of the suspense. Similarly, Cary Grant is swept away from New York to Chicago to a bus stop on the Great Plains to Chicago to an auction house in Northern Michigan to Mount Rushmore in Rabbit City, South Dakota, without ever showing any sign of familiarity with these places. Derrick De Marney in "Young and Innocent" is also forced to move from Tom's Hat (a drive-in) to Nova Pilbeam's aunt's birthday party to Nobby's boarding house to a coal mine to a music hall, and Robert Cummings in "Saboteur" is swept away from California to Deep Spring to Soda City, New York. The protagonists who are caught up in these events lose their sense of agency by being thrown into unfamiliar territory, and become even more caught up in them.

★Frivolousness:

The protagonist's frivolousness is also a common quality in "involved-type" works. Though falsely accused of a crime and pursued by the authorities, they become carefreely attracted to women they meet while on the run. This frivolousness constantly shifts the movement from the center to the periphery, stripping the proactivity from the action that should be taking place and resulting in a physicality that makes them more susceptible to being caught up in it. ●Robert Donat in "The 39 Steps" is such a womanizer that he has no hesitation in kissing Madeleine Carroll, who is sitting in a compartment on a train he is forced to jump into after being chased by a detective, and pretends to be her lover.After giving a speech at a political rally, he is arrested and taken away by enemy spies disguised as police officers, but he still has the frivolity to respond to the cheers of the crowd with a carefree smile and a wave.●In "Young and Innocent," Derrick De Marney, despite being taken away on suspicion of murder, makes light-hearted jokes and teases Nova Pilbeam, a girl he meets, and shows no sign of seriousness about his situation. This "softness"—the ability to easily forget his mission and become absorbed in something else—is precisely what makes him suitable for the "caught-up type”. Cary Grant, in "North by Northwest," reaches the pinnacle of this quality. Despite being a wanted murder suspect, he unhesitantly becomes engrossed in a romantic affair with a stranger (Eva Marie Saint) who seduces him on a train, pursuing her despite the fact that he is being pursued. In the "involved movement, when the protagonist is a man, his frivolous womanizing is a simple consequence of the quality of his "involvement" movement. Robert Cummings, a hardworking worker and not a womanizer, in "Saboteur" is weak in his involvement because he lacks frivolity. Frivolity not only strips the protagonist of his sense of agency in his mission, but also alienates his collaborators by undermining his credibility as a person, a crucial detail that draws the protagonist into a situation of isolation and helplessness, drawing him into the vortex of the incident.

★ "Foreign Correspondent" (August 16, 1940)

From here, I would like to examine works outside the typical "involved type" . On the eve of World War II, Harry Davenport, the owner of a New York newspaper, was looking for a man with the guts to interview a Dutchman named Van Meer, who held the key to whether or not war would break out. His chosen candidate was the passionate reporter Joel McCrea, who had nearly been fired for punching a police officer. The American was sent from New York to London as a foreign correspondent, and then on his way to Amsterdam, he encountered Van Meer's kidnapping. Let me first examine the dialogue between Harry Davenport and Joel McCrea.

● → Harry Davenport ★ → Joel McCrea.

● "Are you married?" ★ "No."

● "Have you ever been to Europe?" ★ "No."

● "Do you know about the crisis in Europe?" " ★ "Crisis?"

● "I mean the crisis of war." ★ "I'll be honest, I've never thought about it."

● "You haven't read the foreign news, have you?" ★ "If you're going to fire me, please do it soon!" McCrea fumed, getting ready to leave the room. ● "I'm not going to fire you," Harry Davenport said, surprising Joel McCrea by announcing he passed. Later, when McCrea said he'd read books and learn about Europe, Davenport replied, ● "No, no, that's fine. Freshness and an unused mind are your strengths."

He'd never been to Europe and knew nothing about world affairs. Normally, this would be enough to disqualify him as a foreign correspondent. However, the moment Joel McCrea answered, "Crisis?" Davenport grinned in satisfaction, and, contrary to the narrative context, appointed him as a correspondent. His "aptitude" lies in his lack of local knowledge and complete ignorance of the situation. Furthermore, Joel McCrea is portrayed as a frivolous man who falls in love at first sight with feminist activist Laraine Day, whom he meets at a conference in London, and who ruins her speech by sending her love letters at the conference. The film, produced by legendary B-movie producer Walter Wanger, is also said to have had a storyline largely based on his. He offered the role to Gary Cooper, who turned him down ("Cinematography," p. 122). The love letter scene seems to have been written with Cooper in mind, and while it's debatable whether Joel McCrea actually performed this womanizer well, his lack of local knowledge, lack of information, and frivolous womanizer all share a "softness" (a physicality suited to being involved) with the "involved" protagonist. It's true that Joel McCrea in "Foreign Correspondent" is a foreign correspondent, and because he is a foreign correspondent engaged in correspondent activities, his work does not "gap" with his occupation, unlike the protagonists of "involved" stories. His work (mission) seems to be driven by his own proactivity, but as his dialogue with Harry Davenport indicates, he not only has no experience (skills) as a foreign correspondent, but his actual work deviates far beyond the mission of a correspondent—"solving the kidnapping of a diplomat"—and like the protagonists of "involved" stories, he becomes embroiled in the incident by losing his skills. What's important in Hitchcockian involvement is not a formal gap between occupation and activity but a substantial divergence. Harry Davenport's aptitude test is not merely a narrative aptitude test in "Foreign Correspondent" but is itself an aptitude test for Hitchcockian involvement. The qualities required for the protagonists of Hitchcock's films are "freshness and an unused mind" - softness and straightforwardness - and this is what sets off the Hitchcockian movement, as ignorant people, rather than experts, are caught up in the action, abandoned by their local knowledge and circumstances.

 ★Drunk - Cary Grant

● In "North by Northwest," Cary Grant is mistaken for an American spy and kidnapped by enemy spies. He's forced to drink alcohol and put in the driver's seat of a car, and is nearly killed in what appears to be a drunk-driving accident. Luckily, he's caught by a police car and escapes. However, while completely drunk, Grant later claims at the police station that he was "forced" to drink. His claim isn't believed by the police, or even his own mother. In fact, the more Grant, a heavy drinker, details the circumstances of his "forced drinking," the more laughter erupts around him. One of the reasons why advertising agent Cary Grant becomes embroiled in a national security incident he knows nothing about is his behavior as a drunkard, which not only causes his memory to become hazy and causes him to lose a very important social weapon: trust, but also causes him to lose another trust through his frivolousness, which leaves him isolated and helpless, stripping him of his independence to the extreme and bringing his aptitude for getting embroiled to the brink.

★"The Lady Vanishes" (October 7, 1938)

Margaret Lockwood, a young English girl who boards a train from the fictional European country of Vandrika, becomes embroiled in a case involving the leaking of secret English national information while searching for her missing woman, Dim May Whitty. This work is also known for being later remade by Otto Preminger ("Bunny Lake Is Missing") (October 3, 1965) and Robert Schwentke ("Flightplan") (September 22, 2005). In this incident, the main character, Margaret Lockwood, is hit on the head by a flowerpot that falls from the second floor of a hotel while on the platform at Bandorica Station, causing her to suffer a concussion before boarding a train. Her memory is hazy, and no one believes what she witnesses later. Dim May Whitty, who was supposed to have been on the train with her, has disappeared. When Margaret Lockwood asks what happened to Dim May Whitty, none of the passengers take her seriously, saying they don't know who that lady is. When they tell her she must have had a vision because she hit her head, Margaret Lockwood responds, "That can't be, I definitely saw it." So she desperately tries to find Dim May Whitty, but... The flowerpot that hits Margaret Lockwood on the head with a ``knock!'' is a MacGuffin to get her involved and give her the aptitude, just like Cary Grant's ``drunkard'' in ``NORTH BY NORTHWEST.'' Margaret Lockwood is a civilian who has come to London to marry her waiting fiancé; she is not a detective or a British intelligence agent, and has no skills whatsoever to solve a spy case. Then, when she receives a direct hit on the head from the flowerpot, she becomes ``wobble-headed'' and loses not only her case-solving skills but also her credibility. From then on, she is involved in a whipping-like movement that pushes her back. (It is because she is unsteady that her body becomes soft and ``whipped''; a stiff, defensive body would not ``whipped'' and would not get involved. From here on, a body that is easily involved will be described as ``soft,'' and a body that is full of an unwavering ego and is not easily involved will be described as ``proactive.'')

★Love Across Classes

● In "Revecca" (March 21, 1940), Joan Fontaine travels to the south of France as a companion to a mean, wealthy housewife (Florence Bates). She meets and falls in love with Laurence Olivier, an aristocrat, and marries him. The couple then move into a large English mansion. However, as Fontaine initially rejects Olivier's proposal, citing "our worlds are too different," Fontaine finds herself in an unfamiliar world with different lifestyles and customs. She is unable to understand her husband, Olivier, and finds herself isolated and without the support of those around her. Ultimately, she is nearly killed by her maid, Judith Anderson. ●In "Suspension" (November 8, 1941), Joan Fontaine, anxious about missing her chance to marry, marries playboy Cary Grant, rumored to be a "playboy who makes her parents cry" and a "notorious womanizer," without really knowing him.When she returns from her honeymoon to her new home and finds out for the first time that he is penniless, she is stunned.After that, due to differences in customs and personality, she has no idea what he is thinking, and eventually she becomes obsessed with the suspicion that he is trying to kill her, and is left in a daze.In both works, Joan Fontaine quickly marries someone she barely knows, which cuts her off from information, leaving her isolated and helpless, and she finds herself caught up in married life.

★Unemployment, minors, poverty, crime

In Hitchcock's films, the details that strip the protagonist of his agency and create a body that is easily caught up in it are not isolated but are a combination of many intertwining events, including a lack of skill, a lack of information, frivolity, and a womanizing nature. "Frenzy" (May 25, 1972), in which a former bartender is accused of murder and finds himself on the run, should be mentioned in the same breath as other so-called ""caught-up type”" films. At the beginning of the film, the protagonist, John Finch, is fired from his job as a bartender after being scolded by the bar owner, Bernard Crivins, for drinking alcohol for free. This is the first step in softening his body to the same type as the protagonists in other ""caught-up type”" films, as the events that lead to alcohol and unemployment destroy his social credibility. Penniless, he goes to borrow money from his ex-wife, Barbara Leigh-Hunt, but the money she secretly puts in his pocket backfires, and he is accused of murdering his wife and finds himself on the run. These details, combined with the loss of credibility caused by his hot temper, give him the physical aptitude for Hitchcockian "caught-up type” movement. ● In "Shadow of a Doubt" (1942/1943.1.12), Teresa Wright is a girl living in a small town called Santa Rosa. She is said to have won a high school speech contest, but she is underage and has no social credibility or connections. Even when she suspects that her beloved uncle (Joseph Cotten), who has come from New York, may be the culprit behind a series of strangulations of widows, she has no skills to solve the problem. Poverty, unemployment, quick tempers, being underage...these details pile up to accelerate the protagonist's tendency to get caught up in the situation.

★"PSYCHO" (September 8, 1960)

Janet Leigh, who works for a small real estate company, runs away with her impoverished boyfriend, John Gavin, in order to marry him and drive to his home in California. However, while fleeing the city, she is spotted by the company's president. Her eyes are blurred by the headlights at night, and she is exhausted. While taking a nap, she is stopped by a police checkpoint. She finally gets free and tries to erase her tracks by buying a new car at a used car dealership. However, her haste to buy a new car arouses the suspicion of the salesman, and she is also spotted by a police officer in a patrol car. She takes the bypass to escape, but it becomes night, and she is plagued by heavy rain and headlights. She is unable to see what is ahead, and before she knows it, she has wandered down an alleyway and ended up at the Bates Motel. While eating a sandwich, Janet Leigh tells Anthony Perkins, the owner of the Bates Motel, "I've been caught in a trap." While she appears to be committing a crime of her own volition and attempting to escape, she not only lacks the skills of a criminal, but is also drawn into the crime by details such as poverty, her desire to marry, the large sums of money flaunted by the nouveau riche, the hot and humid weather, and her headache. She is then drawn into the Bates Motel by further details such as the police car, the police officer at the used car dealership, the rain, the night, and the headlights. These details are the MacGuffins, and Janet Leigh is "driven" to the Bates Motel by many MacGuffins. We will discuss MacGuffins in Chapter 2.

★Two Hitchcocks

The primary focus of Hitchcockian entanglement is the loss of skill, which often results from a disconnect between the protagonist's occupation and the actual action taking place in the film. However, even when occupation and action are separate, Hitchcock has films in which skill plays a key role in the unfolding of the story. ● In "To Catch a Thief" (August 2, 1955), Cary Grant is a former thief who has since retired. His mission is to clear himself of suspicion by tracking down copycats who have copied his old methods. This is the case of a former thief becoming a detective; occupation and mission do not technically overlap. However, while Cary Grant insists to his former resistance comrade Charles Vanel, "I haven't stolen anything in 15 years," he boasts, "I can catch them. I can read the enemy's movements, so I can get ahead of them and capture them." Cary Grant, who says he was an acrobat in an American circus but went bankrupt, so he used his talent to become a thief, was arrested and imprisoned, but the prison was bombed during the war, he escaped, joined an underground organization to atone for his sins, and became a hero. According to a conversation with insurance agent John Williams, Cary Grant is a strong man who "killed 72 men," and is skilled in many skills in addition to being a thief. In fact, he escapes in a car by confusing the police who raid his car with rifle gunfire right after the start of the movie, and then changes to a bus halfway through, successfully shaking off his pursuers. After completing his mission, he obtains information from insurance agent John Williams about a wealthy woman (mother and daughter Jessie Royce Landis and Grace Kelly) who is likely to be a victim of a copycat crime, and then he drops chips into the cleavage of a female customer at a casino, skimming off $10,000, winning the favor of Jessie Royce Landis, who is watching, and becomes close friends with her. Not only does he succeed in his mission in an extremely intelligent and roundabout way, but he also ends up ambushing the real culprit on the roof of a mansion where a costume party is being held, getting there first and capturing the scene. Everything goes according to plan, and his actions, which are based on “familiarity with the area," and "anticipating," are always carried out actively by his own voluntary will, based on his own reason and intelligence. Similarly, his romance with Grace Kelly is not like Cary Grant's Notorious (August 15, 1946) or North by Northwest, in which men become suspicious of love and lose self-control, blindly pursuing women, nor is he completely swept up in Kim Novak's mystique, like James Stewart in Vertigo (May 9, 1958).Cary Grant's romance in To Catch a Thief is portrayed as intelligent and rational, just as his meeting with Grace Kelly was planned in the first place, and is completely different from the frivolous womanizers of the skill-loss movement, who meet women and get caught up in them without an ounce of planning. This phenomenon of the protagonist proceeding with his plans is also exemplified by the phenomenon of "premeditated murder" in "Rope" (August 26, 1948), in which a student commits murder, and in "Dial M for Murder" (February 4, 1954), in which a former tennis player who now sells sports equipment commissions the murder of his wife to a third party. While their act of murder is formally at odds with their occupations and social status as students and former tennis players, it is essentially an exercise in skill carried out through planning. ●The criminals in "ROPE" are filled with a truly circuitous intelligence, as they prove their perfect crime by leaving the body of their premeditated friend in a toolbox and inviting a large number of guests to the scene of the body to hold a party.●Even Ray Milland's murder plan in "DIAL M FOR MURDER" is incredibly circuitous, as he calls his college friend Anthony Dawson under the pretense of buying a car, framing him as the culprit, and then blackmails him with the friend's criminal record, which he has researched in advance, to get him to cooperate in the murder of his wife.●This is very different from Janet Leigh in "SYCHO," who becomes unknowingly drawn into her own plan.Thus, Cary Grant in "To Catch a Thief" calmly and collectedly proceeds with his actions, fully displaying his skills as a thief, and finally corners the real culprit on a rooftop, dangling him from a rain gutter, forcing him to confess, demonstrating a remarkable sense of agency. Hitchcockian movements at heights and in dangerous locations are achieved through unskilled, unfamiliar, and dangerous movements, creating suspense, as seen in the performances of amateurs with no acrobatic skills, such as Robert Donat in "The 39 Steps," Michael Redgrave in "The Lady Vanishes," Joel McCrea in "Foreign Correspondent," and Cary Grant in "North by Northwest," who barely escape to adjacent compartments or guest rooms by running along the exterior walls of trains or high-rise hotels, or Grace Kelly in "Rear Window," who boldly climbs from the balcony of an apartment across the street to the second floor to investigate a murder. In contrast, Cary Grant in "To Catch a Thief," a former circus acrobat who lost his job and turned to thieving, uses his talents to his advantage. As his nickname "The Cat" suggests, he leaps from roof to roof with Superman-like agility, creating no suspense about his fall, cornering the real culprit hanging in the air from a gutter, and calmly coercing him into confessing. Thus, there are two types of movement in Hitchcock's films: passive movement, in which the protagonists become caught up in the action after losing their skills, as exemplified by "The 39 Steps," "Young and Innocent," "The Lady Vanishes," "North by Northwest," and "Frenzy," and active movement, in which the protagonists actively use their skills to move things forward intelligently, as in "To Catch a Thief," "Rope," and "Dial M for Murder."

★Acting Out:"Stage Fright" vs. "Family Plot"

"Stage Fright" (February 23, 1950), in which stage actress Jane Wyman hides her true identity and goes undercover as Marlene Dietrich's secretary, and "Family Plot" (April 9, 1976), in which aspiring actor and taxi driver Bruce Dern disguises himself as a lawyer searching for the heirs of a wealthy family, are both films about actors (or aspiring actors) playing roles. ● In "Stage Fright," Jane Wyman rationally decides of her own volition to help Richard Todd, a fellow drama school student suspected of murder. First, she tails detective Michael Wilding and goes alone to a bar, where she pretends to be dizzy and obtains information from him. Then, disguised as a newspaper reporter, she approaches Marlene Dietrich's maid, Kay Walsh, and bribes her to take her place as Marlene Dietrich's secretary, uncovering her secret. She also pretends to faint and allows Richard Todd, who is being pursued by the detective, to escape. She continues to play her role with great independence, and this planning = intelligence is qualitatively different from the childish behavior of Cary Grant in "North by Northwest," who makes a spontaneous decision to "play a role" and disguise himself as a porter, thereby eluding the detective. Wyman, described by her father Alastair Sim as a "good actress," was easily seen through by her mother, Sybil Thorndike, in her disguise wearing reading glasses, and was discovered by Detective Wilding during the Garden Party at the theater, but she continued to play the role while concealing her true identity from Dietrich until the very end, finally luring Dietrich into a bugged room, boldly revealing her true identity, and then blackmailing him with the presence of the bloody dress as evidence, forcing him to confess the truth. When she discovered that her best friend, Richard Todd, was actually the real culprit, she pretended to let Todd escape, luring him to the detective's location, and crushing him to death under the theater curtain. Jane Wyman's brilliant performance was praised by her father, Alastair Sim, for her outstanding performance. "Stage Fright" begins with the curtain of a real stage rising in the city and ends with Richard Todd being crushed by the curtain. It was made as a film about "actors using their skills to play their roles," and Jane Wyman is not caught up in the crime, but rather solves it in a planned and proactive manner. This situation overlaps with the actions of playwright and actor Herbert Marshall in "Murder!" (July 31, 1930), in which he uses his skills to track down the real culprit. While there is a discrepancy between the playwright's profession and his actions in investigating a murder, as Marshall describes it, "I'm applying stage techniques to real life." In "Murder!", "Sir" Herbert Marshall uses his social credibility to track down the real culprit, utilizing his secretaries, lawyers, and theater actors as collaborators. In maintaining his rational and intellectual actions to the end, despite being shaken by his love for the imprisoned actress Noah Baring, Marshall is portrayed as an intelligent and proactive character, similar to Jane Wyman in "Stage Fright" and Cary Grant in "To Catch a Thief." In contrast, in "Family Plot," Bruce Dern, an aspiring actor, disguises himself as a lawyer and begins an investigation. He goes to a gas station to get information, but when he goes in with a full tank of gas, the manager, Ed Lauter, becomes suspicious and checks his car's license plate number. When he reports to his boss (William Devane), he is told, "He's an amateur." In the end, Bruce Dern's identity is easily identified, and the brakes of his car are tampered with, almost killing him and his girlfriend, Barbara Harris. His "acting," which is completely lacking in skill, fails completely, and that is why Bruce Dern unknowingly becomes embroiled in a kidnapping case. In the same "acting" movie, Jane Wyman, who has the skill, actively moves things forward without getting involved, while Bruce Dern, who has no skill at all, passively gets involved.

★"TORN CURTAIN" (July 14, 1966)

Paul Newman, an American physicist and member of the United States Space Commission, secretly contacts local resistance elements and defectes to East Germany as a double agent to find a mathematical formula for an interceptor missile that he cannot solve himself. He steals the formula from German professor Ludwig Donath. In this film, there is a "gap" between Newman's profession as a physicist and the actual mission he performs, as he is an espionage agent. Furthermore, since "an American infiltrates East Germany," there is a possibility that he is unfamiliar with the area. This work also appears to be a story about a protagonist lacking skills who gets caught up in events in an unknown land.However, Paul Newman is far from feeling lost in a foreign land. He not only uses a museum to easily evade a German spy (Wolfgang Keeling) who is tailing him, but also goes straight to a resistance farmhouse to obtain information and then kills the spy himself, demonstrating a level of initiative unheard of for a protagonist caught up in a movement. Wherever Newman goes, at the farmhouse, university, bus, and even on the street, he is met with collaborators. The resistance collaborators, among them, not only possess powerful espionage skills but also know Newman inside and out, and their ability to anticipate and assist him at every turn makes up for any lack of skill on Newman's part. The planned scene in the middle of the film, in which a female resistance doctor trips Newman as he walks down the university stairs, injuring him and carrying him to the infirmary to relay the information, points to the tendency for Hitchcock's skill movements to become intellectual.

★*Psychoanalysis - "SPELLBOUND" (October 31, 1945) and "MANIE" (July 22, 1964)

In “SPELLBOUND,” psychoanalyst Ingrid Bergman helps Gregory Peck, who has become mentally ill and is suspected of murder, unravel the mystery of the case. ● In “MANIE,” company president Sean Connery conducts psychoanalysis on his wife Tippi Hedren, who has a kleptomaniac tendency, while solving the mystery. If we consider Bergman and Connery as the protagonists respectively, each scenario—a psychoanalyst solving a murder mystery and a company president conducting psychoanalysis—formally separates profession from action, appearing like a skill-less entanglement. However, Bergman in ● “SPELLBOUND” solves the case through psychoanalysis, not as a detective, and Connery in ● ‘MANIE’ is also a zoologist with a background in studying animal instincts, specifically having written a paper on female criminality. Both films share the commonality of being “skills films” where a character possessing psychoanalytic skills solves a case while practicing psychoanalysis. ● Bergman in “SPELLBOUND” falls in love with the mysterious man Gregory Peck, but far from becoming “soft” because of it, she calmly uses her psychoanalytic skills to protect Peck like a mother, taking him from a hospital in Vermont via the Empire State Hotel in New York to the home of her mentor Michael Chekhov in Rochester, and then to the Valley of Gabriel the Angel. She is not at all surprised by her loss of sense of direction, but rather protects Peck like a mother while calmly applying her psychoanalytic skills to trace Peck's past. Her actions are not those of someone caught up in events, but rather appear as extremely proactive, determined by her own will and skills to decide her course and break through the situation. ● In “MANIE,” Sean Connery also falls for the enigmatic woman Tippi Hedren, but rather than becoming “softened” by it, he sees through her true identity as a thief while letting her run free. Using his superior local knowledge, he anticipates her movements after she steals the money, lying in wait. He even returns the stolen cash to the safe beforehand to ensure suspicion doesn't fall on Hedren. This strategy of letting her run free, Through this strategy of letting her run free, ambushing her, and preemptive action—demonstrating planning and agency—he seizes control over her weakness, her kleptomania, positioning himself above her (looking down on her). He forces her into marriage, protecting her like a father while actively undertaking psychoanalysis. Through this, he proactively traces back to her past to uncover the root cause of her kleptomania, driving forward this proactive movement. Here again, the characters within Hitchcock's skillful movement are enveloped in agency and intellect.

■ Relationship between Occupations and Actions

Here, we present a table showing the relationship between occupations and actions in Hitchcock's films (see Hitchcock's Occupations and Actions Table). The films are divided by color in the titles; black and blue indicate films lacking in skill, and Hitchcockian  involved(“caught-up type“)" stories　are included here. Red and pink indicate skill actions. From here, we will further consider Hitchcock's skill actions.

★ "TOPAZ" (December 19, 1969)

After a live-action Soviet military parade, the film begins with a high-ranking KGB official defecting to the United States. Using a secret code known as "TOPAZ," French agent Frederick Stafford travels from New York to Cuba and then to France in search of a French spy who is leaking information to the Soviet Union. Despite his wife's objections, "You're French, don't get caught up in the Cold War," French spy Frederick Stafford heads to Cuba of his own volition, without the approval of his Paris headquarters, saying, "The United States lost contact with Cuba after the Bay of Pigs Invasion. We cannot leave Cuba in its current state." While in Cuba, he engages in an affair with his mistress, Karen Dole, while fully utilizing his spy skills to carry out his mission and track down the enemy spy. This film, about a spy engaged in espionage, is a professional exercise focused on skill. That's why, when Frederick Stafford's superior at the French Embassy in the United States described him, "He's been here for years. Familiarity is power. He has the best intelligence network in the Western Hemisphere. He's an expert and dedicated to his work." This led the superior to affirm Frederick Stafford's aptitude. The screenplay for "TOPAZ," which is said to have been imposed on him from the original story to the casting, rather than Hitchcock's original plan, states that "familiarity is power," in stark contrast to the protagonist's "freshness and unused mind" in "Foreign Correspondent." When Frederick Stafford arrives in Cuba, he is greeted by his lover, Karen Dole, leader of an underground resistance group, and her allies. Despite being shot and tortured, they provide incredibly skillful assistance in escaping Stafford safely to the United States. However, whether it's a war movie, a detective story, a musical, or a spy movie like this, it's natural that the protagonist in a professional movement directed at skills is expected to have skilled skills, and here it's natural that Stafford is blessed with spy skills and is familiar with the area in America, and in Cuba he is also familiar with the area by many collaborators in the resistance, and this is a quality that is common to the skill movements filmed by other directors such as John Ford and Howard Hawks. The problem lies in the nature of the skilled person.

★ Civil Servants and Skills

Of the 15 films in the "Hitchcock Occupations and Behaviors" skill movement (red, pink), five feature civil servants as protagonists (● "Number Seventeen" (July 18, 1932) → detective; ● "Secret Agent" (May 11, 1936) → spy; ● "Notorious" → spy; ● "TORN CURTAIN" → U.S. Space Commissioner; ● "TOPAZ" → spy). In contrast, there are no films in the "Involved" movement (colorless, blue) with civil servants as protagonists. All of the "Involved" movement features  civilian  as protagonists, and there is not a single film featuring a "involved" situation, such as a detective accused of murder who clears his name while on the run. The extreme difference in the nature of the movement can be seen simply as a matter of skill. Civil servants have access to power, extensive connections through networks with other civil servants, and many of them are intellectuals, so they are skilled in a wide range of fields. Therefore, if you were to film a skills movement, a skilled civil servant would be the perfect protagonist. In contrast, in the case of a skill-loss type of involved movement, civil servants' abundance of skills makes them less likely to be dragged in, and they lack the "flexibility" that makes them suitable to be the protagonist in a drag-in movement.

★Flying Hero ~ "Secret Agent" and ● "Frenzy"

●In "SECRET AGENT," John Gielgud, a novelist and British Air Force captain, is appointed by British intelligence to become a spy. Working with Madeleine Carroll and Peter Lorre, who are also spies, he travels from England to a church in Switzerland, then to a casino, then to the Alps, then to a chocolate factory, all in an effort to prevent German spy Robert Young from entering the Arab world, before finally arriving on a train bound for Constantinople. Here again, his official profession as an army captain and spy gives John Gielgud and the others a wide range of skills and connections. Even in the sequence where they gather information at the chocolate factory, John Gielgud knew from the beginning that it was an enemy spy contact point and had already spoken to an informant who would become an ally before visiting. He does not appear confused by his lack of familiarity with the places he travels to. Furthermore, John Gielgud, who was declared dead through a fake funeral, readily accepts the mission out of patriotism, and Madeline Carroll also takes on the mission very proactively, saying, "I've come this far despite opposition from those around me." The skillful nature of the public service profession is once again manifested here as the proactivity of the characters in a Hitchcockian skill-driven movement.

Unlike John Gielgud in "Secret Agent," John Finch in "Frenzy" is a former hero of the skies. He's a former naval lieutenant and hero of the skies, but now he's working as a bartender. He's fired by the bar manager, Bernard Cribbins, for drinking free drinks, and then he's on the run after being accused of murdering his ex-wife. He has no credibility in society, and he's now a shabby private citizen. His only trusted connections are the bar waitress Anna Massey and the serial strangler Barry Foster. He's betrayed by a married couple (Clive Swift and Billie Whitelaw) who were his war buddies, and he's framed by Barry Foster, arrested, and sentenced to death. His hardships clearly demonstrate the loneliness of leaving public service. However, by having the power of his title stripped away to the utmost extent, John Finch accelerates the "soft" physicality of his involvement, which is qualitatively different from the movements of the protagonists of "SECRET AGENT," who can easily use the titles and skills of active civil servants.

★A Former Civil Servant and "VERTIGO" - Carefully Erasing Skills

Former detective (and former civil servant) James Stewart is asked by his college friend Tom Helmore to tail his wife, Kim Novak. As he pursues her, he becomes captivated by her charms. Unlike a "former aviation hero embroiled in a murder case," this work seems to show the ex-detective's "tailing" skills being utilized even after retirement. However, when Tom Helmore asks him to "do it," Stewart declines, stating, "That's not my specialty," making it clear that the detective work he must perform—tailing someone—is outside the scope of his experience and skills as a former detective. While Stewart does show his detective ID at the reception desk of the inn where Kim Novak is staying, this is proof of his detective status and not proof of his "tailing" skills. Although at first glance it appears to be a skill exercise, the skills of the former detective from "Vertigo" have been carefully erased, and as such, his movement, in which he tails Kim Novak, who is said to be mentally disturbed, and is dragged into a flower shop, a church, a cemetery, and even into the ocean, is not an exercise aimed at skills like "To Catch a Thief," but rather a carefully prepared movement in which he is drawn into something that is the polar opposite of proactive motivations such as familiarity with the area and planning.

★Detective Movies　

In addition to the four so-called "involvement" films we've reviewed so far, the protagonists of these films—"The Lady Vanishes," "Revecca," "Suspension," "Foreign Correspondent," "Shadow of a Doubt," "Vertigo," "Frenzy," and "Family Plot"—follow suspects, question them, and investigate in order to solve mysteries. However, their detective activities—such as tailing suspects, questioning them, and investigating—are not something a professional detective "does." For this reason, Hitchcock's "involvement" movement does not feature any civil servants, such as detectives or spies, nor even private detectives. Hitchcock did not film a single "detective film," a genre in which a private detective leads the protagonist and solves the case through detective work, as seen in John Huston's "The Maltese Falcon" (October 3, 1941) and Howard Hawks' "The Big Sleep" (August 22, 1946). The "detective" in Hitchcock's "involvement" movement is not a "person who is" a detective, but rather a film about someone who is not a detective "doing" detective work; it is not a detective film as a professional movement. While detectives are not civil servants, they are so-called jack-of-all-trades, have extensive connections, and possess the skills to deal with any situation. Therefore, having a detective as the protagonist would hinder the appropriateness of the involvement movement. The absence of civil servants or detectives as protagonists in Hitchcock's "involvement" movement is a natural consequence of the quality of the movement.

★ "I Confess" (1952/February 12, 1953)

Set in Canada, this film tells the story of Catholic priest Montgomery Clift, who overhears the confession of the true murderer of a murder case. However, due to his obligation to maintain confidentiality as a priest, he is unable to tell the truth to the police and is suspected of the crime. He is put on trial and nearly sentenced to death. Since a priest is suspected of a murder case beyond his skill, it would seem that he should be drawn into a movement. However, Montgomery Clift actively chooses to exercise his priestly skill of "maintaining confidentiality." Even when his former lover, Anne Baxter, now married to another man (Roger Dunn), presses him, saying, "I still love you even after seven years of marriage," he remains unfazed, insisting, "I chose the priesthood myself." He is also unfazed by the prospect of escape. Not only does he maintain his independence by voluntarily turning himself in to detective Karl Malden and being put on trial, but he also risks his life to maintain his confidentiality even when he is on the verge of being executed, and in the end, even though he is threatened with a gun by the real culprit, O.E. Hasse, he rushes to persuade him to forgive him, hoping that he will be called to God, playing the extremely serious and nervous protagonist.Here again, when Hitchcock films a skill exercise, the protagonist appears not as a frivolous womanizer, but as an extremely independent and serious person.

★Frivolous Womanizer

In films depicting professional movements that require specific skills, the protagonists share the following characteristics in addition to possessing skills and a sense of locality:

1) They undertake their missions rationally and of their own volition (the only exceptions are Bergman and Cary Grant in "Notorious," who first accept the general mission and then are told the specific mission of "infiltrating the compound of an enemy spy" and are tormented by it).

2) They act in a planned and intelligent manner ("Rope," "Dial M for Murder," "To Catch a Thief"); psychoanalysis ("Spellbound" and "Manie"); defense work ("The Paradine Case" (December 29, 1947); and a priest adhering to confidentiality ("I Confess"). Their professional movements are planned and intelligent.

3) There are no frivolous womanizers (men).

The intellectual tendencies of the protagonists in Hitchcock's skill films are quite different from those of other directors. There are so many I'll only introduce one here, but there's no Hitchcockian skill film that features a man like Humphrey Bogart, who jokingly calls out "Hello!" to Dorothy Malone, the bookstore girl who takes off her glasses, in Howard Hawks' detective-detective film "The Big Sleep." He's the kind of man who casually approaches attractive women, engages in flirtatious behavior, and jokes to flirt with them. Looking at the red and pink protagonists in Hitchcock's "The Hitchcock Table of Occupations," we see that they are extremely serious, intelligent, moral, rational, and strict. The "frivolous womanizer" is a symbol of the anti-psychological person, with a flexible physicality that quickly strays from the path of independence in the environment in which he finds himself, but as we have already seen, Cary Grant in the skill-movement film "To Catch a Thief" repeats intellectual and rational movements, and even Cary Grant in "Notorious," a film about a spy engaged in espionage, is portrayed as a strict workaholic, confessing to Bergman in a cafe shortly after arriving in Rio that "I've always been afraid of women," and although he is also Cary Grant, he is portrayed as a rigid character completely different from the frivolous womanizer Cary Grant in "North by Northwest." ●In "The Wrong Man" (December 13, 1956), Henry Fonda is imprisoned for a crime he did not commit, then released on parole and begins an investigation to clear his name.This film should have been a Hitchcock-style affair, but perhaps because it is based on a true story, the main character, Henry Fonda, is portrayed as a serious and hard-nosed person, the polar opposite of a "frivolous womanizer." As discussed in the paper "Psychological Authenticity and Film History," intelligence is synonymous with Psychological Authenticity, and intellectual and psychological behavior can hinder the motion of film.

★The Actors Studio

In "TORN CURTAIN," Hitchcock negatively reflected on Newman's acting, saying, "Paul Newman hated acting with a neutral gaze" (Film Technique 321). This suggests that Paul Newman, a graduate of the Actors Studio, was a psychological actor. Founded by Elia Kazan and others, the Actors Studio was an acting school that emphasized the psychological aspects of actors. However, by imbuing each and every glance with meaning, they attached meaning to the actor's movements. This prevented the protagonist from being swayed by his environment, and no matter how many MacGuffins he used, his already established personality remained unaffected. This backlash was fatal for films like those of Hitchcock and Mikio Naruse, which use MacGuffins to disrupt one movement after another. Paul Newman's "dislike of acting with a neutral gaze"—his movements—were always proactively meaningful and therefore never "torn apart." ●Montgomery Clift, who starred in "I Confess," also graduated from the Actors Studio, and there is an incredible story that Hitchcock shot two versions of Clift's "Actors Studio-style psychological acting," which he had thought out in advance for every scene, and Hitchcock's "anti-psychological acting without acting," and used the latter in the film.Looking at Montgomery Clift's already psychological expressions in the film, it is beyond imagination what "Actors Studio-style psychological acting" was like.

★Hitchcockian Actor - "The Paradine Case" and "Duel in the Sun" (December 31, 1946)

"The same can be said about "The Paradine Case," but it's the weakness of the actor Gregory Peck. Ingrid Bergman is undoubtedly the perfect actress for your film, but I don't think Gregory Peck is a Hitchcockian actor at all. He's an actor with absolutely no depth as a person, and especially no expression in his eyes." "The Art of Cinema," p. 157. These are Truffaut's words in a conversation with Hitchcock. Although Gregory Peck wasn't a graduate of the Actors Studio, his acting has the same "depth" as actors like Paul Newman and Montgomery Clift, especially his eyes are overly expressive. In this respect, Truffaut seems to reverse his use of words. Gregory Peck in "The Paradine Case" not only actively takes on the defense of Alida Valli of his own volition, but also expresses his anguish through facial expressions, frowning deeply and sweating in the final courtroom scene, delivering a psychological performance throughout. Though he is in love with his client, Alida Valli, his feelings are extremely rational, moral, and earnest. He is portrayed as a completely different character from the womanizer Gregory Peck portrayed in King Vidor's "Duel in the Sun," who attacks Jennifer Jones, a mixed-race Native American, in an attempt to possess her, even smirking when she resists. Indeed, Gregory Peck is associated with a rational, moral image different from that of privileged stars like Cary Grant, Gary Cooper, and James Stewart, and, as Truffaut says, this is likely a result of his acting talent. However, when Howard Hawks shot a film, even Montgomery Clift was portrayed as a non-psychological character, as in "Red River" (1946/August 26, 1948), so this should be seen as a problem not just with the actors, but with Hitchcock. When Hitchcock shot a film focused on skill, he always ended up filming stiff, rational, moral, and intelligent characters, and was unable to film the "frivolous womanizers" he always filmed in his films.

■Collaborators - "The 39 Steps"

Hitchcock's films often feature collaborators who aid and assist the protagonists in their endeavors, but "The 39 Steps" is the first to feature a "soft" collaborator whose agency is actively lost. After Lucy Manheim, a female agent he met at the theater, dies mysteriously in her apartment, Robert Donat attempts to escape. He discovers that two men, likely spies, are guarding the exit. He attempts to escape by disguising himself as a milkman who just happened to be passing by. However, no matter how much he explains that he's involved in a murder case and being pursued by enemy spies, and that he needs his clothes, the milkman, Frederick Piper, refuses to believe him or take him seriously. However, as soon as he lies, saying, "Actually, I spent the night with a married woman, but her husband and brother were watching outside," the milkman eagerly cooperates, saying, "You should have told me that already." The milkman cooperates with Robert Donat not because he knows the truth, but because of a completely different lie. Later in the film, the couple at the inn where Robert Donat and Madeleine Carroll take refuge after being chased by enemy spies cooperate not because they know the truth, but because they mistake the couple for eloping lovers, and they "hide the couple from their relatives," not because they "hide them from the spies." This not only prevents Robert Donat's movement from being imbued with the proactive motivation of "cooperation from someone who knows the truth (circumstances)," but also allows the movement to accelerate while maintaining its non-proactivity by being imposed with a completely unrelated motivation. Even Madeline Carroll, who is handcuffed to Robert Donat and caught up in his escape, doesn't cooperate no matter how much Robert Donat tells her the truth, until he points the pipe in his pocket at her like a gun and says, "I'm a murderer. If you don't cooperate, I'll kill you." This shows that Madeline Carroll lacks the proactivity of knowing the truth and cooperating, and after she finally learns the truth at the inn and trusts Robert Donat, the two immediately go their separate ways and are separated again until the final sequence, so that the  proactive　event of Madeline Carroll knowing the truth and cooperating is carefully excluded. ● In "THE 39 STEPS," the fact that the collaborators are "unaware of the circumstances (the truth)" completely eliminates any possibility of their proactive cooperation.

★The origin of the collaborator - "THE MAN WHO KNEW TOO MUCH" (December 9, 1934)

The first time a collaborator was vaguely introduced in a film prior to "The 39 Steps" was in "Blackmail" (July 28, 1929), where John Longden, a detective and lover of Annie Ondra (who killed a painter in self-defense after he tried to rape her), stays by her side throughout.He uses his police power to frame the man who was blackmailing her, leading to his death. However, at this point, Hitchcock's films do not employ any techniques to eliminate the agency of the collaborating detective, John Longden. Furthermore, Annie Ondra in this film is not given a consistent mission; she is merely bewildered by John Longden's cooperation and the appearance of the blackmailer, and even when the blackmailer is cornered in the British Museum, she is simply bewildered in her room, not carrying out any mission. Unlike the "involved typel" , she has actually committed murder, so there is no clear movement to "clear her name." In "The Lodger" (1926/January 17, 1927), Iva Novello arrives at a boarding house in search of the real killer to avenge his sister, who was murdered in a series of blonde murders. Although he is given the task of "finding the real killer" for the first time in the film, he is portrayed as an enigmatic man, and his actions are not clearly depicted. Consequently, the cooperation of June, the innkeeper's daughter, who assists him, is also unclear. In Hitchcock's films, the first time  carrying out a mission has an ally is in "Murder!" (July 31, 1930), where playwright and actor Herbert Marshall is tasked with investigating a murder, and the married couple Edward Chapman, a stage director, and actress Phyllis Konstam, cooperate with him throughout the investigation, leading to the resolution of the case.This film marks the first appearance of an collaborator to a protagonist who consistently carries out a mission in a Hitchcock film. Because the protagonist, Herbert Marshall, is tasked with "solving a murder case," the existence of this collaborator who assists him becomes particularly prominent. However, like "Stage Fright," this film also links the stage with real society, exploring the theme of solving a case through theatrical skills. While Herbert Marshall's actions are considered proactive in this regard, the theater troupe couple who assist him also possess the skills to solve the case through "acting," similar to Herbert Marshall and Jane Wyman in "Stage Fright." Their cooperation, like that of the protagonist in a Hitchcockian skill-based movement, is revealed to be rational and intellectual.The first appearance of an collaborator lacking skills in a Hitchcock film was in "The Man Who Knew Too MUCH" (December 9, 1934), in which a couple whose daughter is kidnapped is manipulated by the group of perpetrators, is arguably the origin of Hitchcock's signature "getting involved" movement. In this film, Hugh Wakefield, the best friend of Leslie Banks, who accompanies him to dentists and churches on his mission to find his daughter (Nova Pilbeam), is also the origin of the unskilled collaborator. Although he knows the circumstances of the kidnapping, nothing is said about him in the film other than that he is a model train enthusiast and a best friend of Leslie Banks. He has absolutely no skills to solve the case, and he falls into a deep sleep after being hypnotized by an enemy spy at a church where they investigate. This film, in which parents with no detective skills whatsoever are given the consistent mission of getting their daughter back with an unskilled collaborator, is the origin of Hitchcock's signature "getting involved" movement. Further developing this, and actively eliminating the collaborator's agency in an extremely proactive way, was Hitchcock's first "getting involved" type film, "THE 39 STEPS" (December 9, 1934). Hitchcockian films about being caught up in events are a movement built on the "softness" created by the interwoven interactions of unskilled collaborators and unskilled protagonists. Here, let's examine the lineage of collaborators in Hitchcock's films.

★Levels of Collaborators

The presence or absence of a collaborator's agency depends on whether they "know the circumstances" and "possess the skills of the movement," and a list is presented that is limited to works from "Blackmail" onwards, when the movement of "cooperation" began to sprout (see Hitchcock Collaborator Table).

As the level number increases, the collaborator's agency becomes stronger. The relationship between Hitchcock films and skills is almost entirely true not only for the protagonist but also for the collaborators. All collaborators at levels 1 and 2 are collaborators in skill-loss type films, and although collaborators who cooperate with the protagonist of a skill-based movement appear for the first time at level 3, 13 out of 16 collaborators are still concentrated in skill-loss type films. However, at level 4, conversely, 12 out of 22 films feature collaborators with protagonists who perform skill-based movements, and if we limit ourselves to collaborators in skill-based movements, 12 out of 15 films are concentrated at level 4. However, in the case of skill-based movements, the protagonist is already performing a skill-filled movement, so even if the collaborators are skill-oriented, it does not hinder the protagonist's movement. In Howard Hawks' "Rio Bravo" (1958/March 8, 1959), gambler Angie Dickinson, who rescues Sheriff John Wayne from a predicament, contributes as a Level 3 accomplice by breaking a window with a potted plant to distract the enemy, while gunman Ricky Nelson contributes as a Level 4 accomplice by throwing a rifle to Wayne and taking the opportunity to shoot and kill one of the enemy. Many films depict such lively groups of skilled individuals, but when Hitchcock films skill-based action, there is a noticeable tendency to portray the accomplices as psychological and intelligent characters, just like the protagonist. The issue isn't skill; it's being proactive, intelligent, and psychological. In Hitchcockian films where characters are drawn into a situation, the origin of the Level 1 collaborator—someone unaware of the circumstances and lacking skills—lies with the milkman and the innkeeper couple in "The 39 Steps." Here, Hitchcockian films where characters are drawn into a situation reach their ultimate form of being stripped of two forms of agency: the protagonist's agency and the collaborator's agency. Even the heroine who joins the protagonist midway through the film, political journalist Madeline Carroll, knows Robert Donat is a fugitive but doesn't believe his claims of innocence at all. Her only special skill is the ability to slip out of handcuffs, and she has virtually no skills in solving spy cases. This tendency of the heroine is carried over into subsequent "drawn-in" type films. Nova Pilbeam in "Young and Innocent" falls in love with a fugitive and ends up helping him. Despite her father being the police chief, she not only fails to use his skills but also elopes with the fugitive she falls in love with, nearly forcing her father to resign. Similarly, Priscilla Lane in "Saboteur," a highway advertising model who gets caught up with a fugitive, doesn't believe anything the fugitive Robert Cummings says and has no skills whatsoever to solve a spy case. However, these "involved" heroines also transform into Level 3 collaborators in the middle of the film, believing in the protagonist's innocence. This shows how the tendency of collaborators in subsequent Hitchcock films moves away from the fundamentalist Level 1 and approaches Level 2 and then Level 3. In case 2, a "collaborator who doesn't know the facts," like Detective Wendell Corley in "Rear Window" (1954.9.1), who doubts the very existence of the crime, may possess detective skills, but since they don't believe in the existence of the crime itself, they are completely useless and do not provide the protagonist of the involvement movement with any skills. On the contrary, the uncooperative nature of the supposedly skilled detective only intensifies the protagonist's psychological isolation. Furthermore, in the case of Level 3, which could be considered the mainstream of collaborators in the involvement movement, the feeling of powerlessness that comes from "knowing the facts but lacking the skills to do anything" attaches to the protagonist's movement and accelerates the suspense. Even Edward Rigby, the tramp in "The Third Fugitive," and Anna Massey, the waitress in "Frenzy," who help the protagonist who is being pursued for a crime he did not commit, have no skills whatsoever when it comes to investigating murder, and their help is useless precisely because of this, which accelerates the suspense. Similarly, Michael Redgrave, who helps Margaret Lockwood in "The Lady Vanishes," is a musician who studies folk dance and has nothing to do with English state secrets. At best, his skills are limited to acting as an interpreter and memorizing song chords as a musician, but even the memorized melodies are forgotten in his joy at the prospect of marrying Margaret Lockwood, rendering them useless. When he drives a locomotive to escape his enemies, he tells the English gentleman Norton Wayne that he has "driven miniature locomotives before," and this lack of skill is precisely what fuels the entanglement and momentum of the movement. ● In "Rear Window," Thelma Ritter and Grace Kelly, who repeatedly enter and leave James Stewart's apartment and gradually come to believe in the existence of the crime and cooperate with him, are a housekeeper and a model, respectively. Their cooperation is always inconclusive and unfulfilled in solving the murder case, which is what draws them in and creates suspense in the process. What's interesting is Rod Taylor in "THE BIRDS" (1963.3.28), an intellectual with a wide range of skills as a lawyer, who, from the bird shop at the beginning of the film, manipulates Tippi Hedren and enjoys outsmarting her, engaging in an extremely proactive, intellectual, and planned movement. However, once the birds attack, his skills become completely useless, and he is constantly at the mercy of the birds, tying electrical cords to window handles, using a dressing table as a barricade against the door, and getting bitten on the hand and covered in blood. If the collaborators at Level 1 are fundamentalists, then the collaborators at Level 3 are more uncertain moderates, and by adding breadth to the protagonist's involvement, they sometimes evoke an extraordinary lyricism, like Peggy Ashcroft, the Scottish farmer's wife in "The Thirty-Nine Nights." A young woman living in the countryside with her much older, strict, and jealous Christian husband (John Laurie) harbors a deep affection for Robert Donat, who has fled the city. She secretly learns from a newspaper photo that he is a fugitive suspected murderer, but she has no skills to help him escape. The only help she can offer is to secretly send Robert Donat out the back door and give him a raincoat to protect him from the cold. But this weak and passive cooperation revitalizes the movement that constantly converges on the narrative as its center, and the raw vibration of her voice uttering "Margaret!" when Robert Donat asks her name at the doorway just before they part shakes the screen of film history (her very existence is merely a MacGuffin to get Robert Donat to put a raincoat with a Bible in the pocket on him). Conversely, despite lacking the skills to solve the master heist case, Jesse Royce Landis and Grace Kelly, mother and daughter in "To Catch a Thief," intellectually support the protagonist Cary Grant's proactive movement for skills, along with John Williams of the insurance company. However, Jesse Royce Landis, also at Level 3, is a collaborator in the skill loss movement. In "North by Northwest," Jesse Royce Landis plays the ideal mother, completely refusing to believe her drunken, frivolous, womanizing son Cary Grant's claim that he was forced to drink, and further isolating him by being of no use. The danger to the "getting caught up" movement lies with the Level 4 collaborators, who, knowing the protagonist's circumstances and possessing superior skills, pose a significant risk of turning the protagonist's "soft" movement into an active one. ● In "The Lady Vanishes," the female spy Goozy Withers, disguised as a nun, who appears towards the end, is British herself and therefore cannot kill other Britons. Despite being an enemy spy, she cooperates with the protagonist. However, her cooperation is extremely proactive, as she possesses spy skills such as not putting the drug meant to put the protagonists to sleep in the brandy and jumping off a train to dodge bullets and change the railway points. This cooperative movement, including the gunfight at the end, makes "The Lady Vanishes," which should be a skill-loss type of "getting caught up" movement, somewhat rigid.

★Lovers ~ "Strangers on a Train" (June 30, 1951)

"Strangers on a Train" is a story about tennis player Farley Granger, who is approached by a man named Robert Walker in a train's coffee shop with a proposal for a reciprocal murder. Thinking it's a joke, he goes along with it, but his wife is actually murdered, and he becomes a suspect. This is another example of a "tennis player getting involved in a murder case," a skill-loss type of involvement. Here, his lover Ruth Roman, a Level 3 collaborator who helps and cooperates with Farley Granger, not only believes in his innocence from the beginning, but later, after Farley Granger tells her the truth about the reciprocal murder, she shows initiative by going alone to Robert Walker's house of her own volition to try to persuade him and his mother. When she fails to persuade them, she breaks down in tears with an extremely psychological expression (a scowl). In this film, which features the extremely memorable actor Robert Walker as the villain and is one of Truffaut's favorite Hitchcock films, Truffaut himself said in an interview with Hitchcock, "I think the only flaw in the casting of this film is Ruth Roman, who plays the heroine" ("The Art of Cinema," 199). This illustrates how even a seemingly lyrical character like a lover can become entangled and cause the movement to stall if the timing and method of their appearance are wrong. Here, we will examine the role of the lover as a collaborator in films after "MURDER!".

Works with titles written in red are Skill Movement pieces.

★Ex-lover

"I Confess" Anne Baxter 　Level 3

"VERTIGO" Barbara Bel Geddes 　Level 3

★Lover

"STRANGERS ON A TRAIN" Ruth Roman 　Level 3

"DIAL M FOR MURDER" Robert Cummings　 Level 4

"Rear Window" Grace Kelly 　Level 3

"TOPAZ" Karen Doll 　Level 4

"FRENZY" Anna Massey 　Level 3

"FAMILY PLOT" Barbara Harris and Bruce Dern 　Level 3

The supporters of the protagonist's lover, including ex-lovers and fiancés, are evenly distributed: 4 for skill-based movements and 5 for skill-loss-based movements. With the exception of Level 4 supporters Robert Cummings from "DIAL M FOR MURDER" and Karen Doll from "TOPAZ," all other supporters are Level 3. Since they lack the specific skills necessary to assist the protagonist, there is no risk of them taking control of the protagonist's actions, regardless of whether the protagonist they assist is a skilled individual or a Hitchcockian character who gets caught up in the situation.

★Lovers Who Believe from the Start

However, the character of a lover is endowed with a sense of agency, having known the protagonist. ●Anne Baxter in "I Confess" ●Robert Cummings in "Dial M for Murder" ●Karen Doll in "Topaz" and ●Ruth Roman in "Strangers on a Train" Lovers immediately believe the protagonist's words and actions simply because they are lovers, and three of these are concentrated in skill-based works. ●Anne Baxter in "I Confess," the ex-lover of Father Montgomery Clift, is now married to Congressman Roger Dunn, but as she confesses, "Even after seven years of marriage, I still love you," she has loved Clift since long ago, and not only does she believe in his innocence when he is imprisoned for murder, but she was also with him at the time that provided his alibi, so she proactively responded to the police summons and appeared to testify to Clift's alibi. ●Robert Cummings in "Dial M for Murder" and Karen Doll in "Topaz" are examples of Level 4 lovers who completely trust the protagonists, such as Grace Kelly and Frederick Stafford, from the beginning. They actively support the protagonists by making full use of their skills as a mystery writer and a resistance fighter, and Robert Cummings even solves an extremely difficult case almost perfectly with his own intellectual deductions. In skill-based movements, having collaborators who possess skills should accelerate the protagonist's progress. However, when Hitchcock films skill-based movements, there is a noticeable tendency for not only the protagonist but also the collaborators to become proactive and intellectual, which can stagnate the film. The cooperation of the protagonist's lover or ex-lover, who has known him from the beginning, manifests as a tendency to trust the protagonist simply because "knowing" him equals "being" his lover, stemming from their past relationship.

★Lovers Who Believe Later

Julie Andrews in "Torn Curtain" ● Grace Kelly in "Rear Window" ● Anna Massey in "Frenzy" are the protagonist's lovers who, despite being the protagonist's girlfriends, begin to doubt his words and actions after the film starts, and only later begin to trust him—these are "lovers who believe later." Their movement to no longer trust the lovers and their words and actions, whom they thought they knew well, is liberated from intellect as their past skills of "knowing" the protagonist no longer apply in the present. However, the danger of their movement approaching their past "knowing" again comes when they begin to believe the protagonist.

★Seeing vs. Reading

● In "Torn Curtain," Julie Andrews is the fiancée and collaborator of Paul Newman, the protagonist of the Skills Movement. From the very beginning of the film, she is an intimate lover, engaging in a bed scene with Paul Newman that has never been seen in previous Hitchcock films. However, she later becomes suspicious of Paul Newman's actions after he defected from America to East Germany, transforming her into a lover who cannot "trust" him. The important part is the scene in which Paul Newman confesses the truth to Julie Andrews. It is a scene in which Paul Newman, on a small hill in East Germany, confesses to Andrews that he did not actually betray America, but infiltrated East Germany as a double agent. Initially, it is shot in a long shot from the perspective of Günther Struck, an East German professor at the bottom of the hill, and Newman's voice is not heard by us, the viewers, which is a so-called "direction of not letting us hear."Regarding the "direction of not letting the audience hear," Hitchcock's last silent film made during his time in England, "The Manxman" (1928/January 21, 1929), features a man (Carl Brisson) who lacks the courage to propose marriage to his lover's (Annie Ondra) father (Randall Aylton). He asks his best friend (Malcolm Keene) to stand in for him, and the conversation between the man and the father is filmed from outside the room where the two are, using a point-of-view shot through a glass door, resulting in "inaudible" footage.

In the first place, using the "direction of not letting the audience hear" in a silent film is a display of talent, but here Hitchcock creates suspense by making it impossible to know whether the father has approved of the marriage or not, simply by "seeing" from the outside, and leaving the answer uncertain until the father comes out of the room and speaks directly to Carl Brisson. ●In "THE 39 STEPS," there is a sequence in a Scottish farmhouse where a farmer, suspicious of his wife's relationship with Robert Donat, spies on them from outside the window. Here too, the husband's jealousy intensifies solely through "seeing," without him ever hearing their conversation. ●In "STRANGERS ON A TRAIN," Farley Granger is arguing with his wife, Laura Elliott, in a glass-walled listening room of a record store, and the store owner "sees" him from outside, allowing the owner to imagine a different kind of violence from Granger than what actually happened. ●In "VERTIGO," James Stewart expands his image of Kim Novak solely through spying on her—"seeing only"—until he actually begins to talk to her after she jumps into the sea. From his perspective, the screen, along with us watching the film, is dominated by the suspense of the complexity of "seeing." The pinnacle of this is "Rear Window," in which James Stewart, unable to move due to a broken leg, investigates a murder by peeking into the apartment across the street. In this film, the conversations of the residents of the apartment across the street are barely audible, and the film is almost entirely shot through James Stewart's "seeing," so it remains unclear until the very end whether a murder actually occurred. When a Hitchcock film reaches its climax, the dialogue invariably disappears or becomes meaningless, and the screen is instantly concentrated on "seeing." "Seeing" is an inherently uncertain event, a realm filled with uncertainty far removed from "reading," and it creates suspense by refusing to be segmented and capturing our eyes. In Hitchcockian suspense, "direction that doesn't let you hear" is direction that entrusts to "seeing," and Hitchcock captures the fear of "the uncertainty of seeing" that lurks deep within us as suspense. However, in the hilltop scene of "TORN CURTAIN," the filming, which initially relies on the "seeing" of the enemy German professor Günther Struck, is then segmented as the camera zooms in on the two on the hilltop. Julie Andrews' all-too-transparent psychological acting and expressions make it clear to anyone that Paul Newman has confessed to her that he infiltrated East Germany as a double agent, and that she is overjoyed to hear it. Not only is this "readable," but the music, too, is a truly sentimental melody that further segmentes and "reads" the events shown on screen, and by allowing the audience to hear the subsequent conversation between the two, the suspense of complexity that would have been left to the "seeing" is completely eliminated.

★ "TOPAZ" - Reading - "DIAL M FOR MURDER"

Similarly a skill-based action film, ● "TOPAZ" features a very long scene where American spy Roscoe Lee bribes the secretary of Cuban official John Vernon, while intelligence agent Frederick Stafford watches intently from across the street. At first glance, this seems like a "direction to prevent listening," but the actions of those negotiating in the distance are so segmented that the viewer can "read" that the bribe has been successful, thus abandoning the complexity of "seeing." Also, "DIAL M FOR MURDER" is another work of skill in the art of planned murder by Ray Milland. Towards the end, there is a scene where Detective John Williams is secretly watching Ray Milland from behind the curtains as he turns back out of the apartment because the key he received from the police doesn't work. This is a scene where he analyzes Ray Milland's actions by "watching" them, and here John Williams observes Ray Milland's every move and thinks, "He seems to have given up... he's leaving... it's a failure... hmm?" "Wait a minute...it looks like he's noticed...he's coming back," not only segmenting and explaining not only his external actions but also his psychology, but Ray Milland's performance here is so psychologically segmented and easy to understand that you can "read" it just by looking at the screen, even without John Williams' commentary, so it belongs to the same category of "readable" screens as "Torn Curtain" and "Topaz." The film flows into the past, with the convoluted intelligence of the murder plot, the complete trust of her lover (Robert Cummings) in Grace Kelly as he intelligently unravels it, the intelligent detective John Williams cornering the culprit in a roundabout way by trapping him, and her trust in her husband, and every detail of this film is proactively interconnected and directed towards "reading."

Similarly, in the courtroom scene of "THE PARADINE CASE," there is a scene where the events unfolding before the viewer are described in words. In this scene, Joan Tetzel, sitting in the gallery, explains everything to Anne Todd, Gregory Peck's wife, who is sitting next to her, saying, "That was a brilliant opening statement," "They want to lead to suicide," "This is going against him," and "Latour (Louis Jourdan) is hiding something." After the first hearing, she confirms, "Tony (Gregory Peck) has won," and in the second hearing, when Alida Valli testifies again, "We were poor before we got married," Anne Todd says, "She's honest," to which Joan Tetzel adds, "She's clever, the prosecution can't press her." In addition, this film is full of phrases that indicate the realm of "being," such as "She's beautiful," "She's innocent," and "She's a good person." As seen when Alida Valli asks Gregory Peck about the past in the visiting room and Alida Valli replies, "How far back do you want to go?", the film goes back to the past = "being" at every turn. One example of this is the commentary in this courtroom scene, where Joan Tetzel and Ann Todd in the gallery further reinforce events that were not fully conveyed by the segmented courtroom scene by "reading" them, and there are no shots that leave the uncertainty of "seeing" to chance (perhaps only the pan-focus shots of Alida Valli and Louis Jourdan from front to back).In his early silent film "Easy Virtue" (1927/March 5, 1928), Hitchcock employs a technique where the change in the telephone operator's facial expression reveals that Robin Irvine's proposal to Isabel Jeans has been accepted—a truly "readable" directorial choice. When Mikio Naruse's works began to take on a more proactive character during the war, much of the communication that had previously been "seeing" through "peeking" shifted to "reading" through "eavesdropping." However, after "Repast" (November 23, 1951), he returned to "seeing" in film (see "Thesis on Mikio Naruse, Part Two," to be posted later). In Hitchcock's case, "The 39 Steps" was a major turning point towards "seeing" (Madeline Carroll, who initially completely ignored Robert Donat's verbal pleas of innocence, begins to believe in Robert Donat's innocence only after "eavesdropping" on the conversation of enemy spies downstairs from the second floor of the inn late at night. However, since she can also hear the conversation of those downstairs, this scene still retains a tendency towards "reading"), and even after that, "Torn In skill-based films such as "CURTAIN" and "TOPAZ," a phenomenon occurs where the screen shifts from something to be "seen" to something to be "read."

★ "Rear Window" - Seeing and Believing.

Grace Kelly in "Rear Window," a collaborator in a Hitchcockian, skill-loss-type entanglement movement, is a "lover who later believed" her boyfriend James Stewart's claim that a murder had occurred in the apartment across the street. Her reaction is similar to Julie Andrews in "Torn Curtain," who, despite being his lover, doubted Paul Newman until the middle of the film. However, what Grace Kelly believed was not her boyfriend James Stewart's words, but the "event." She didn't believe him no matter how much he told her, but only began to believe the incident after she herself witnessed Raymond Burr, the salesman for the apartment across the street, packing a large trunk. She didn't believe James Stewart's account by "reading" it, but rather began to believe in the existence of the incident only after "seeing" it for herself. Furthermore, Grace Kelly intuitively believed in the existence of the incident, but the objective and concrete full picture of the incident was not revealed through her "seeing."The fact that Raymond Burr was packing a large trunk does not, by conventional standards, directly lead to the conclusion that he "killed his wife." Therefore, Grace Kelly's "seeing" here is an extremely vague, uncertain, and intuitive experience, far removed from truth, good, and evil. In fact, when Detective Wendell Corley's investigation later revealed that the large trunk Grace Kelly had seen contained not a body but the wife's clothes, Grace Kelly doubted what she had seen and lost confidence in the existence of the crime. ● In "Rear Window," nurse Thelma Ritter sees Miss Lonelyheart in the apartment across the street and thinks she is going to commit suicide, so she asks James Stewart to call the police. However, after seeing Miss Lonelyheart listening intently to a piano performance, Thelma Ritter explains the psychology behind it, saying, "She stopped herself from committing suicide after listening to the piano." However, while Miss Lonely Heart is initially seen in close-up through a telephoto lens, the label on the bottle on the table is not visible, so there is no evidence that it contains sleeping pills. Furthermore, blinds are drawn over the window, and the shot cuts to a long shot, so it is not "read" by anyone just by looking at the screen that she is about to commit suicide. Nor can it be "read" that she has abandoned her suicide attempt in the scene where she appears to be listening intently to the piano. The way Thelma Ritter tries to "read" the complex, unsegmented screen through "seeing" is similar to how Grace Kelly, who believed in the incident through "seeing," later became uncertain about her "belief." When characters deliberately try to "read" the complexity of "seeing," even the phenomenon of "reading," which should inherently segment the image, becomes uncertain, complicating the screen. This is different from the easily understandable screens in films such as "DIAL M FOR MURDER," "TORN CURTAIN," "TOPAZ," and "Mrs. Paradine's Love Story." ●The reason all the evidence in "Rear Window" is unconclusive is because it stems from the uncertain event of "seeing," and that is precisely why "Rear Window" can continue to brew a rich suspense until the very end.

★"FRENZY"

Anna Massey, a waitress in "FRENZY," is the accomplice and lover of the protagonist, who is also involved in a Hitchcockian-esque situation where he loses his skills. After spending a night with her boyfriend, John Finch, who is on the run for murder, she learns that he is suspected of killing his ex-wife and relentlessly berates him, refusing to believe his alibi that he stayed in a cheap hotel. When a completely exhausted John Finch asks her, "Do I look like such a pervert?", she stares at him intently, then remembers the smell of lice on his clothes and says, "Now that you mention it, I did smell a little," and for the first time begins to believe his claim that he stayed in a cheap hotel. When John Finch couldn't get anyone to believe him no matter what he said in words, he ultimately relied on his five senses: "seeing" and "smelling." It was these present senses of "seeing" and "smelling" that made her believe in his innocence, and she certainly didn't believe him because of his past status as her lover, nor because of the segmented event of "reading."Furthermore, John Finch, who asks "Do I look like a pervert?", is filmed in a way that makes him look like nothing but a pervert, from his clothing and personality to his actions. Here again, Anna Massey's trust is nothing more than an uncertain, present intuition felt through "seeing" and "smelling," detached from societal norms such as truth and reason. However, even Anna Massey, who trusted him, is easily killed by the strangler shortly afterward. This highlights the qualitative difference in the dynamics between the two films, especially considering that Julie Andrews from "Torn Curtain," who trusted Paul Newman in a highly proactive way, stays with him as an accomplice until the end. Regarding the sound, in "FRENZY," there is a scene where John Finch bangs on a table at his ex-wife Barbara Lee-Hunt's matchmaking office, and his secretary Jean Marsh, who is in the next room, mistakes it for the sound of Barbara Lee-Hunt being hit and reports it to the police. However, what Jean Marsh hears here is not segmented linguistic speech, but rather a difficult-to-distinguish impact sound. Here, the screen relies on the uncertainty of the five senses, where the sound is "heard" rather than "read," which is a stark contrast to the "readable" direction in "TORN CURTAIN." Hitchcock's involved  movement is one of "doing" that completely strips away proactivity, and in "Rear Window" and "FRENZY," the film shuffles what the lovers "know" and then entrusts "believing" to the complexity of the five senses such as "seeing," "smelling," "touching," and "hearing," pulling the film from the past to the present and accelerating the suspense (the immersive nature of "Rear Window" will be examined later). In contrast, the "direction that doesn't let you hear" in the skill-type movements of "TORN CURTAIN" and "TOPAZ" is a "direction that makes you read," and the protagonist's movement is stripped of its complexity because the unshakeable past status of "being" a lover flows directly into the present movement and affects the protagonist, which is as absurd as putting a microphone in the apartment across the street and making you "read" all of the residents' conversations. "Reading" is about determining the truth and good and evil in segmented events within the realm of "being," and it exists in a different realm from the suspense created by uncertainty in "seeing."

★those who become lovers after the movie begins

In four films that can be considered prototypes of Hitchcock's "getting involved" movement, the fact that the heroines who become the protagonist's allies are all unknown women whom he meets after the start of the film and are not his past lovers is no coincidence. ●"THE 39 STEPS"●"Young and Innocent"●"Saboteur" The women who meet the male protagonists do not know the men at all, which accelerates their own degree of involvement, and the protagonists, in turn, become isolated and their degree of involvement is accelerated by being suspected by these women. Initially, these women are all Level 1 allies who do not know the protagonist's circumstances, but later they move to Level 3 after trusting the protagonist's innocence, only to be immediately separated from him again. In "THE 39 STEPS," Madeline Carroll becomes convinced of Robert Donat's innocence at an inn, but the two immediately go their separate ways. ● In "Saboteur," Priscilla Lane begins to trust Robert Cummings after being sheltered by a circus, but they are separated in the ruined city in the next sequence. The two are then reunited when they are imprisoned again in the mansion of an enemy spy, where Priscilla Lane once again harbors doubts about Robert Cummings, but these doubts are dispelled and she begins to trust him again, only to be separated once more. In contrast to this, even though both are "involved" characters, Eva Marie Saint from "NORTH BY NORTHWEST" is a Level 4 collaborator from the beginning, not only knowing Cary Grant's circumstances but also possessing spy skills. She hides Cary Grant from police pursuit on the 20th Century Limited Express and spends the night with him, but they are soon separated. They reunite several times afterward, and she even helps by firing blanks at Cary Grant, but she soon infiltrates the enemy organization again and never actually helps to advance Cary Grant's movement. What they have in common is that after learning about the protagonists' circumstances, they are separated from the protagonists. The fact that the skillful Eva Marie Saint from "NORTH BY NORTHWEST," who knows Cary Grant's true identity from the beginning, is kept away from Cary Grant throughout is no coincidence; it is the consequence of the involved movement, where the protagonists lose their agency and are drawn into it. However, while other "involved" protagonists are caught up in national security cases, Cary Grant in "NORTH BY NORTHWEST" is drawn into the woman Eva Marie Saint herself. That's why the enigmatic Saint is not so much a collaborator of Cary Grant as the mysterious woman he pursues, and the film shares a common thread with "Notorious," where Cary Grant pursues Ingrid Bergman but is torn apart, and "VERTIGO," where James Stewart is drawn to Kim Novak but is torn apart, in that it depicts the suspense of men being drawn into the lives of women and pursuing them.

★ “Young and Innocent” and “The Lady Vanishes”

Nova Pilbeam in "Young and Innocent" and ●Michael Redgrave in "The Lady Vanishes" are allies who become the protagonist's lovers after the film begins, but because they have already fallen in love with the protagonist before they even trust him, they are allowed to accompany him for long periods of time as allies who help him, regardless of the intellectual event of the truth. In "Young and Innocent," Nova Pilbeam falls in love with Derrick De Marney after gazing at him, listening to him, and interacting with him in the mill where they are alone. Her cooperation is based on a love for him that is not swayed by the truth of his innocence or by good or evil. Even when Derrick De Marney's account is almost confirmed through questioning at the drive-in and his innocence is objectively becoming clear, she is still allowed to act with him. After recovering the incriminating coat from the vagrant and being taken into police custody, she separates from the protagonist like other "involved" heroines. However, later, she embraces Derrick De Marney when he sneaks into her bedroom and once again cooperates with him in solving the case under his direction. This is different from Madeline Carroll in "The 39 Steps" and Priscilla Lane in "Saboteur," and is more reminiscent of Michael Redgrave in "The Lady Vanishes." Michael Redgrave, who falls in love with Margaret Lockwood and begins to help her when she claims a woman disappeared on a train, acts with her because he loves her and is not swayed by the truth or morality of her claims. He acts alongside her without granting her any agency, and that is why he consistently cooperates with her, both when he doesn't believe her and after he does. Thus, in films like "Young and Innocent" and "The Lady Vanishes," allies who fall in love with the protagonist at first sight tend to continue acting with the protagonist even after they come to believe them, while in films like "The 39 Steps" and "Saboteur," allies who don't fall in love at first sight tend to be torn away the moment they come to believe them. This suggests that Hitchcock's movement of being drawn into something progresses while avoiding agency. In Hitchcock's films, love is a detail that breaks down all agency, and the characters who are drawn into love and propelled forward, activating the movement, accelerate the movement in Hitchcock's films.● In "THE 39 STEPS," Peggy Ashcroft, a Scottish farmer's wife, lives in the countryside with her much older, strict Catholic husband. Her circumstances themselves are linked to her love for Robert Donat, a handsome and sophisticated man from the city. It is this love, transcending good and evil, that drives her to the instinctive act of "cooperation," not because Robert Donat is a trustworthy person. Her gentle actions as a "helpful but inexperienced collaborator" imbue the process of being drawn into the situation with the emotion of love. This Scottish farmer's sequence is such a superb fragment that it would win the grand prize at any short film festival around the world.

★ "THE TROUBLE WITH HARRY" and "SPELLBOUND"

Just because they are lovers after the start of the film doesn't mean everything will go smoothly. In "THE TROUBLE WITH HARRY" (September 30, 1955), two pairs of lovers after the start of the film are formed: Captain Edmund Gwaine and the widow Mildred Natwick, and painter John Forsyth and the widow Shirley MacLaine. These two, who have no skills whatsoever when it comes to disposing of corpses, seem to get caught up in the MacGuffin of the corpse, but at every turn they begin to examine in detail the origin of the corpse = who killed it = the past. A MacGuffin is a trigger that starts a movement and has no meaning in itself, so when you trace back to the meaning of the MacGuffin, the movement is put at risk. In "SPELLBOUND," Bergman is also Gregory Peck's lover who enters into a romantic relationship with him after the film begins. She continues to believe in Gregory Peck, who is wanted for murder, but her "belief" is not simply an affirmation of her current lover, who transcends good and evil and truth, like Nova Pilbeam in "Young and Innocent" or Michael Redgrave in "The Lady Vanishes." Instead, she traces back to a segmented point in the past through psychoanalysis (we will examine psychoanalysis later), and there is a strong tendency to reach the realm of "reading" rather than "seeing." As we have already examined, Bergman is an extremely proactive collaborator (or protagonist) who determines and overcomes her own path with her own will and skills, which is closely related to the proactive nature of this work. The lovers, who trace back to the past = origin, are not immersed in the uncertain process of suspense through seeing and hearing, but rather in the unshakeable and proactive mystery of truth.

★Being married

If being in a romantic relationship is dangerous, then being married is even more dangerous. This is because marriage, as an institution, involves the formation of a stronger sense of "trust" than being in a romantic relationship. Limiting ourselves to films after "THE MAN WHO KNEW TOO MUCH" (1934), which revealed the existence of non-active collaborators and became the prototype for the "involved" type, we find that the protagonist is married at the start of the film in nine films: "THE MAN WHO KNEW TOO MUCH" (1934), "SABOTAGE" (December 2, 1936), "Mr./Mrs. Smith" (January 31, 1941), "THE PARADINE CASE," "UNDER CAPRICORN" (September 8, 1949), "DIAL M FOR MURDER," "THE WRONG MAN," "THE MAN WHO KNEW TOO MUCH" (1956), and "TOPAZ." Of these, five are skill-movement films (titles written in red) and four are skill-loss type films.

★Couples in the Skill Movement

Ann Todd in "The Paradine Case" tells her husband Gregory Peck, "I know you inside and out," and continues to believe in her husband even after he falls in love with another woman (Alida Valli), encouraging him with a very assertive lecture in the final scene. Grace Kelly in "Dial M for Murder" continues to believe in her husband Ray Milland, who tried to kill her, but is shocked when she finally learns that he is the real killer. In "Under Capricorn," Ingrid Bergman and Joseph Cotten are portrayed as an extremely rigid and uptight couple, burdened by the past animosity that Cotten killed someone for Bergman. Frederick Stafford and Danny Robin in "Topaz" also cheat on each other and have no faith in one another, yet they are portrayed as an extremely rigid couple.

★Couples in the Skill Loss Movement

"The Wrong Man" tells the story of how Vera Miles, the wife of Henry Fonda, who is imprisoned for a crime he didn't commit, and how lawyer Anthony Quayle help him. However, Vera Miles, lacking the skills to be a helpful assistant, believes in her husband's innocence from the start, partly due to the crisis of losing the breadwinner of their impoverished family. Furthermore, she feels guilty for sending her husband to the insurance company to pay for her own wisdom tooth treatment, which leads to him being wrongly accused, causing her to suffer a mental breakdown and be hospitalized. She, like her husband Henry Fonda, is portrayed as an extremely rigid and unyielding character, and this rigidity permeates the protagonist, his allies, and everything else, exhibiting a Hitchcockian tendency. The only couple who maintain a distance from each other is Sylvia Sidney in "SABOTAGE." She and her husband, Oscar Homolka, immigrated from America to London and ran a movie theater together, but due to the recession, it didn't go well, they accumulated debt, and eventually Oscar Homolka became involved in a sabotage organization. Sylvia's gradual shift from "trust" to "disbelief" is similar to the suspenseful process in "Shadow of a Doubt," where the relationship between uncle and niece shifts from "trust" to "disbelief." Without considering the proactive cooperation of Detective John Roder, which will be examined later, "SABOTAGE" has a more flexible feel compared to the other couples' stories (in "SABOTAGE," Sylvia Sidney is drawn into a movement, while her husband Oscar Homolka is engaged in a movement of sabotage skills). ●In "The Man Who Knew Too Much" (1934), and its remake "The Man Who Knew Too Much" (1956), the couple is involved in a child abduction case, but their trust in each other remains unshaken. Although the couple is separated several times and forced to act independently, the "community of trust" that exists, with someone who definitively believes in the protagonist, only hinders, rather than promotes, the heightened suspense of being caught up in the situation. The abduction, which at first glance seems to create suspense, transforms from a skill-loss type of entanglement into a movement of human skills, because the parents searching for their kidnapped child possess more than anyone else the human skill of love. Hitchcock, who often makes proactive films when depicting skill-based movements, transforms this work into a proactive one in which the couple voluntarily seeks the cooperation of the police (the detective's cooperation will be discussed later). They "know too much" of each other. ● In "The Man Who Knew Too Much" (1956), in the middle of the film, many friends crowd into the apartment and seem to be hindering the couple's activities, but they are also collaborators who look up the church's phone number for Doris Day, and are level 1 collaborators who do not know the circumstances and do not have the skills to solve the kidnapping case. However, they are not collaborators who appear in the course of the movement, but rather they suddenly show up at the apartment and stay until the end, and should be seen as a MacGuffin to strengthen the isolation of the protagonist couple, who are not isolated enough, by placing them in the midst of collaborators who do not know the circumstances. However, as we will consider later, ● this is far from the depth of the supple direction that brilliantly isolated Teresa Wright in "Shadow of a Doubt," This film, which is the only Hitchcock film that can be thought of as having a theme song, is a film adorned with magnificent cinematography, but from the perspective of Hitchcockian suspense, it is driven by proactivity.

★Mentor, Father, Childhood Friend, Uncle and Niece

Looking at it this way, we can see the agency of collaborators such as mentors, fathers, and childhood friends. ●In "SPELLBOUND," Michael Chekhov, the mentor of psychoanalyst Bergman, not only believed Bergman's persuasion based on their past relationship as beloved student and sheltered the wanted man Gregory Peck, but also actively used his skills as a psychoanalyst alongside Bergman to lead the case towards resolution. ● In "STAGE FRIGHT," Jane Wyman's father, Alastair Sim, not only sees through the fact that someone deliberately put the bloodstains on Dietrich's dress, but also "gets ahead of" his daughter Jane Wyman when she goes to confront Dietrich, leaving a note of advice in the car. At the shooting gallery during the theater's garden party, he selects a timid-looking little man, snatches the prize doll from him, cuts his own hand with a knife to get blood, smears it on the doll, gives it to a child, and has him show it to Dietrich on stage to gauge his reaction. This demonstrates an incredibly proactive, planned, and intelligent form of cooperation. ●Michael Wilding in "UNDER CAPRICORN" also continued to believe in and support his childhood friend Bergman, maintaining his unwavering trust even after being seriously wounded by a gun misfired by Bergman's husband, Joseph Cotten. The intellectual atmosphere emanating from these collaborators in the Skills movement is vastly different from the childishness of the milkman in "THE 39 STEPS" and the vagrant in "Young and Innocent" in the Skills Loss movement. In this respect, ●"Shadow of a Doubt," which depicts an uncle and niece meeting after a long time apart, creates a delicate suspense as the estranged relationship between the uncle and niece, despite being relatives, creates a subtle distance within their intimacy, and the niece, Teresa Wright, who is the only one to know her uncle's dark side, becomes isolated from her family and many others.

★Getting married after the movie starts.

Films in which the main characters get married after the movie starts include: ● "The Pleasure Garden" (1925/January 8, 1926) ● "Easy Virtue" ● "The Ring" (October 1, 1927) ● "The Manxman" ● "Revecca" ● "Suspension" ● "Notorious" (Bergman and Claude Rains) ● "Manie". However, unlike couples who are already married before the movie starts, couples who get married after the movie starts often develop distrust towards each other after marriage, and at least one of them develops a body (softness) that makes them susceptible to being drawn into such situations.

● Virginia Valli in "The Garden of Earthly Delights" is nearly killed after discovering for the first time after marriage that her husband, Miles Mander, is a womanizing cheat. ● Robin Irvin in "EASY VIRTUE" is shocked after marriage when he discovers that his wife, Isabel Jeans, is a divorced "immoral woman." ● Carl Brisson, the boxer in "THE RING," is stunned after marriage when he learns that his wife, Lillian Hall-Davies, was having an affair with rival boxer Ian Hunter. ● Carl Brisson in "THE MANXMAN" is shocked after discovering that the child born after his marriage to Annie Ondra is actually the child of Annie Ondra and her best friend, Malcolm Keane, and divorces her. ● In "Rebecca," Joan Fontaine is forced into marriage by Laurence Olivier, a nobleman she barely knows, at the hotel where she is staying. Afterwards, she is brutally abused at the Manderley estate and nearly killed by the maid, Judith Anderson. ● In "Suspicion," Joan Fontaine is desperate not to miss her chance at marriage and hastily marries Cary Grant, a playboy she barely knows, only to suffer terrible consequences. (For some reason, in both "Rebecca" and "Suspicion," in which Joan Fontaine stars, there are no allies whatsoever, which, combined with her seemingly frail cardigan and demeanor, doubles her "softness.") These examples illustrate how important the concept of "not knowing the other person" is to creating suspense for Hitchcock, and the event of "getting married after the film starts" is a perfect fit for Hitchcockian suspense. Therefore, the details that lead to marriage—for example, in "Suspicion," the setting that Joan Fontaine is an old maid who has missed her chance to marry—become a MacGuffin, and marriage itself is a MacGuffin to involve those who have married. What is needed is to get married, not a wedding ceremony. Consequently, in Hitchcock's films, the only film in which the ceremony of the protagonist's wedding, which takes place after the start of the film, is filmed is "The Ring." Even if it is filmed, it is at best the wedding party at the watermill in "The Manxman" or the exterior view of the marriage registry office in "Rebecca" and "Suspicion." Furthermore, honeymoons are only filmed in his debut film "The Garden of Earthly Delights," "Rebecca," and "Marnie." Even in "Rebecca," the two are only shown on 8mm film, and the film quickly cuts off, which then becomes a MacGuffin to trigger another event. In "Suspicion," the honeymoon is depicted simply by overlapping numerous hotel tickets attached to a large travel bag. In Hitchcock's films, "getting married" is merely a MacGuffin to bring strangers together and create a body (softness) that is easily drawn into relationships.

★ "Shadow of a Doubt" and Mourning Clothes

This is a digression, but in the final scene of "Shadow of a Doubt," Teresa Wright, who has come to see Joseph Cotton off as he leaves town by train, is late getting off and is nearly killed by Joseph Cotton, who then falls to his death. At this time, Teresa Wright is wearing dark clothing. However, in the final scene, the funeral sequence for Joseph Cotton, she is wearing brightly colored clothing. Since it is a black and white film, the specific colors cannot be determined, but Joseph Cotton is actually wearing "mourning clothes" at the moment of his death, and brightly colored clothes at the funeral ceremony. Hitchcockian ritual is not the ritual itself, but is attached to the movement, and wearing "mourning clothes" at the moment of the movement of "dying" = "doing" is one manifestation of the film being shot from the perspective of movement.

★The Encounter

Although not a collaborator, Hitchcock filmed a wonderful encounter scene in his debut film, "The Pleasure Garden," where Virginia Valli runs up to John Stewart, who is crawling on the floor playing with a dog, trips, and falls, causing them to face each other on the floor and both look at each other in bewilderment, laughing. However, after filming an encounter of the opposite sex in "The 39 Steps," where Robert Donat, pursued by a detective, takes refuge in a train compartment and fakes a kiss with a stranger, Madeleine Carroll, who happens to be there, Hitchcock has continued to film countless unforgettable encounter scenes between men and women in film history. ●In "Young and Innocent," Nova Pilbeam tends to Derrick De Marney after he faints in the interrogation room, and the moment he wakes up marks their first meeting. ●In "The Lady Vanishes," a fight over the noise between Michael Redgrave dancing folk music upstairs and Margaret Lockwood downstairs brings them together. ●The cliff by the sea in "Revecca." ●The train compartment in "Suspension." ●Cary Grant's silhouetted back at the party in "Notorious." ●Annie's restaurant in "Vertigo." ●In "North by Northwest," Cary Grant and Eva Marie Saint are filmed struggling to pass each other in the narrow train corridor, each giving way to the other. Furthermore, Hitchcock consistently captures encounter scenes through a meticulous accumulation of shots, such as the rainy Bates Hotel in "SYCHO" and the bird shop in "THE BIRDS". This culminates in "STRANGERS ON A TRAIN," where two men unexpectedly meet when their shoes touch in a train's coffee room. Here, Hitchcock captures on film the beginning of a fateful encounter as the two men, having gotten out of a taxi at the station, walk to the platform, board the train, and sit in chairs in the coffee room, accidentally touch shoes.What these encounter scenes have in common is the distance between them; they don't know each other, and the other person is standing or sitting in a place where they wouldn't expect to be. In such situations, the men and women are unexpectedly drawn into the lives of those they have just met. This anti-proactivity (Suddenness and unexpectedness) is what makes Hitchcockian encounters suspenseful, and conversely, films that fail to capture this aspect well, even when the characters meet for the first time after the film has started, risk becoming stagnant. Films like "Secret Agent," where John Gielgud meets Madeleine Carroll for the first time in a hotel room knowing her true identity; "To Catch a Thief," where Cary Grant approaches Grace Kelly and her mother after obtaining information from John Williams of an insurance company; and "Manie," where Sean Connery interviews Tippi Hedren after suspecting she might be a woman he's seen before, weaken the suspense of the encounter because the characters already know the identity of the person they are meeting for the first time through prior research or experience. Films like the meeting of Laraine Day and Joel McCrea in "Foreign Correspondent," where she casually enters the screen at a party and starts talking to a man who doesn't speak English, and Priscilla Lane in "Saboteur," where she happens to meet Robert Cummings, who was hiding out at her uncle's house, also expose the vulnerability of being drawn into things by encounters (few film fans would remember the meeting scene between McCrea and Laraine Day in "Foreign Correspondent"). Even for people who become lovers after the film starts, it's often difficult to film the meeting scene, so you might think that a meeting shot of two people who are already lovers wouldn't be interesting, but there is one exception: "Rear Window." The scene begins with mysterious lighting and slow motion, as Grace Kelly's shadow falls on the sleeping James Stewart's face, making it hardly seem like a reunion between lovers. Filmed in this way, the scene serves as a suspenseful preview of James Stewart becoming entangled in a murder case amidst the fluctuating charm of Grace Kelly, who possesses both elegance and childlike innocence.

★The Detective's Cooperation

In his conversations with Hitchcock, Truffaut repeatedly criticizes the detectives in Hitchcock's films, including Macdonald Kelly in "Shadow of a Doubt" (e.g., "The Art of Filmmaking," p. 97). However, there is only one Hitchcock film in which a detective is the protagonist: "Number Seventeen." Therefore, the detectives in Hitchcock's films that Truffaut criticizes are not the protagonists but rather detectives who act as collaborators. Looking at them, we find that Malcolm Keane in "The Rodger," John Longden in "Blackmail," John Roder in "Saboteage," Robert Newton in "(Jamaica Inn)," Macdonald Kelly in "Shadow of a Doubt," Michael Wilding, etc., are generally assertive and upright characters, and there is not a single "frivolous womanizer." One possible explanation is that Hitchcock developed a dislike for the police after being punished by his father in a police detention center during his childhood ("How to Film," p. 23), which may explain why the police officers he portrays lack appeal. However, this should also be viewed through the lens of his theory of movement, which explains why, when Hitchcock portrays skilled individuals, he invariably depicts them as rigid and unyielding.

Level 4 collaborators include: ● Detective John Longden in "Blackmail", ● Detective John Roder in "Saboteage", ● Detective Robert Newton in "(Jamaica Inn)", ● Detective Macdonald Kelly in "Shadow of a Doubt", ● Detective Michael Wilding in "Stage Fright", ● Cary Grant (from Bergman's perspective) and his FBI comrades including Louis Calhern in "Notorious", ● Detective John Williams (from Grace Kelly's perspective) in "Dial M for Murder", ● Inspector Ralph Truman in "The Man Who Knew Too Much" (1956), ● American spy Eva Marie Saint and FBI agent Leo G. Carroll in "North by Northwest", and so on. Nine out of the 22 films featuring Level 4 collaborators are detectives or FBI agents, and if you include Detective Balsam in "Sycho", that brings the total to ten. Conversely, among the collaborators from Level 1 to Level 3, there is only one detective or police officer, Level 2 Detective Wendell Corley, which is evidence of how detectives in Hitchcock's films are not only skilled but also well-informed about the case in question. In the first talkie, "Blackmail," the stern-faced John Longden is Annie Ondra's lover and a detective, and he uses his skills as the detective in charge of the murder case Annie Ondra committed to frame an innocent person and ultimately take their life, thus performing an incredibly proactive and intelligent act of cooperation. He gives a sense of agency to Annie Ondra, who is supposed to be caught up in the case as a protagonist who has lost her skills, by proactively supporting her "soft" body. John Roder in "SABOTAGE" also proactively cooperates by using his power to release Sylvia Sidney, who killed her husband Oscar Homolka. ● Detective Robert Newton in "(JAMAICA INN)" is also saved by the protagonist Maureen O'Hara when his undercover operation is discovered and he is nearly killed. After that, he uses his skills to carry out his duties and secretly helps Maureen O'Hara. In this way, the protagonists, who should have lost their skills and been caught up in events, are made to take initiative by having their skills reinforced, thus stopping their entanglement. Without exception, they are all serious and upright men, and there is not a single "frivolous womanizer." ● Although the "all-knowing" ally who is both the protagonist's lover and a detective from the beginning of the film has disappeared since "BLACKMAIL," in Hitchcock's films, great care must be taken when introducing a skill-oriented detective to the protagonist.

★"Shadow of a Doubt"

In "Shadow of a Doubt," Teresa Wright is just an ordinary teenage girl living in the small town of Santa Rosa, with no connections or credibility. When she single-handedly discovers that her beloved uncle Joseph Cotton, who has come from New York, is the culprit behind a series of strangulation murders of widows, she finds herself isolated, unable to tell her kind-hearted family the truth. It is then that Macdonald Kelly, a detective disguised as a census taker, appears before her. What makes this work so well-crafted is that when Macdonald Kelly suspects Joseph Cotton of being the culprit, Teresa Wright believes Joseph Cotton, and when Teresa Wright begins to suspect Joseph Cotton of being the culprit, the "real culprit" is arrested in the East Coast, clearing Joseph Cotton's name and allowing Macdonald Kelly to close the investigation. The story is deliberately structured so that no proactive cooperative relationship develops between Teresa Wright and Macdonald Kelly. Furthermore, when Macdonald Kelly, who had infiltrated Wright's home under the guise of a census taker, revealed his identity as a detective to Teresa Wright, Joseph Cotton's guilt was still unclear. This prevented Macdonald Kelly from openly cooperating, maintaining Teresa Wright's isolation. Moreover, by portraying Teresa Wright's family and neighbors as extremely kind and powerless, Wright is unable to expose her family as murderers and harm them, forcing her to continue her campaign alone. This is in stark contrast to John Roder in "Sabotage" and Robert Newton in "Jamaica Inn," who also went undercover as detectives but were quickly discovered and then used their power to continue their investigations openly. When Hitchcock films skilled individuals, whether they are the protagonist or an accomplice, he portrays them as proactive, intelligent, and rigid. Therefore, when he places a detective as an accomplice to the protagonist who is caught up in events, he must never let the detective act proactively. In this regard, except for "Shadow of a Doubt," in "NORTH BY NORTHWEST," FBI agent Eva Marie Saint is always kept away from the protagonist Cary Grant, and Cary Grant, by escaping from the power of the FBI by climbing the walls of a high-rise hotel where he is imprisoned by FBI agent Leo G. Carroll, acts alone and separates himself from the authority of the FBI. ● In "SYCHO," detective Martin Balsam is quickly killed off before he can even cooperate with the secondary protagonists Vera Miles and John Gavin, ending up without any active cooperation (he's more of a MacGuffin, existing solely to be killed). ● In "Notorious," superior Lewis Calhern only supports Bergman and Grant's activities from behind the scenes, providing no assistance on the ground. His subordinate Cary Grant is also forbidden from openly cooperating by concealing his identity, and his cooperation is further limited when his lover Bergman infiltrates the enemy spy's mansion alone. Furthermore, doubts about Bergman's love for him create an ideal environment that pushes him further away from proactive cooperation. In this film, Cary Grant and Bergman are lovers who met after the start of the movie, and because they both have doubts about each other's love, which makes them "softer," all the movements move away from agency and proceed with flexibility (incidentally, in "THE 39 STEPS," Madeline Carroll willingly goes to the London police to ask for their cooperation towards the end, but this is merely a MacGuffin to give the protagonists a hint that Mr. Memory might be remembering the information by having the detective say that "the information of state secrets has not been stolen," which is why Madeline Carroll is refused cooperation by the detectives). ● "Rear "Window" is remarkably well-crafted, effectively demoting a Level 4 detective (Wendell Corley), who is supposed to possess exceptional skills, to Level 2 by failing to convince him that the case itself is credible, thus negating his willingness to cooperate. Only private individuals with no expertise in murder cases, such as Grace Kelly and Thelma Ritter, believe in the case, creating an extremely personal suspense through the cooperation of those without the necessary skills. When Grace Kelly is in danger after breaking into the apartment of a salesman across the street, James Stewart calls the police, but the officers who arrive are also completely unaware of the situation and simply arrest Grace Kelly before leaving, offering no assistance to the protagonists. In Hitchcockian thrillers, the loss of skills movement, in which the protagonist is simply drawn into events, is an event that takes place in an extremely private realm. That is why, in films such as "Shadow of a Doubt," "Rear Window," "NORTH BY NORTHWEST," and "SYCHO," the detectives (investigators) who act as collaborators in the loss of skills movement are kept from having their agency spill over to the protagonist. In contrast, "Notorious" is the only film in which collaborators in the skill movement succeed in eliminating their agency, including collaborators other than detectives. In the first place, in a movement directed towards skills, the protagonist is already full of skills, so the fact that the collaborators are also skilled does not weaken the movement. What weakens it is the agency of the collaborators = "psychological authenticity," and in skill movement works other than "Notorious," the collaborators (even the protagonists) are all people full of intellectual agency, and there is not a single collaborator who is torn apart by love, loses confidence, and becomes "soft (wobbly)" like Cary Grant in "Notorious."

★The antagonistic detective

In Hitchcock films, not all detectives are allies. Allies are those who act alongside the protagonist for a certain period of time, assisting him in his missions, and that's why they are usually played by well-known actors, and the question is how their presence affects the protagonist's actions. However, the majority of detectives and police officers in Hitchcock films are not allies but nameless adversaries. In many of the "involved" type films, such as "The 39 Steps," "Young and Innocent," "Saboteur," and "North by Northwest," there are police officers who chase the protagonist on trains or interrogate him at checkpoints, but their actions don't stick in our memory as names because they are MacGuffins to pursue the protagonist. MacGuffins have no meaning, so they are detectives yet not detectives, human beings yet not human beings, and there is no talk of them being fascinating characters. The ultimate example of this is Mort Mills, the patrol car officer who questions Janet Leigh in "SYCHO" (Mills is the detective with the recorder slung over his shoulder in the final scene of Orson Welles' "Touch of Evil" (1957/1958.4.23), which often shares similarities with "SYCHO"). He is merely a MacGuffin to drive Janet Leigh to the Bates Motel, and that's why his existence, stripped of its name to the extreme by the patrol car, uniform, and sunglasses, and turned into a stereotype, becomes a raw, unadulterated action—"doing"—that pushes the protagonist away, much like the tanker truck in Spielberg's "Duel" (1971.11.13). Thus, stripped of its background—"being"—it is a raw existence—"doing"—and therefore, the police officer in the patrol car in "SYCHO" is both a police officer and not a police officer, and therefore, like Koji Yakusho in Kiyoshi Kurosawa's "Tokyo Sonata" (July 27, 2008), even if he suddenly disappears and never appears again, he is a MacGuffin and has no impact on the story. In Hitchcock films, the ideal police officer is the nameless antagonist, like the two detectives in "Strangers on a Train," who accompany the protagonist but remain inconspicuous like a shadow, and disappear immediately after fulfilling their role as a MacGuffin to corner him at the amusement park. Such police officers promote Hitchcockian movement, while antagonists like Harold J. Stone in "The Wrong Man," who remain involved with the protagonist with an extremely proactive sternness, halt the protagonist's movement. In films like "I Confess" and "The Wrong Man," both protagonists turn themselves in or are arrested, bringing them closer to the stern, moral detectives like Karl Malden and Harold J. Stone, and further introducing the stern, proactive  setting of the courtroom that follows, thus stifling the movement.

★"FRENZY"

Perhaps Alec McCowen in "FRENZY" is the only detective portrayed as truly captivating. What makes him so appealing is that he himself possesses an extremely flexible and passive body, and not only does he honestly reconsider the mistakes in his investigation, saying, "Maybe we were wrong," but he is also henpecked by his wife (Vivian Merchant), who retorts, "It wasn't 'we.' You were the only one who was wrong." His supple physicality, which reacts moment by moment to changing circumstances, fits perfectly with Hitchcockian movements. In addition, Alec McCowen is not involved in the protagonist's movements except when he arrests John Finch, and even in the latter half of the film, as the truth is being uncovered, he is merely cooperating indirectly from a distance. Thus, in "Frenzy," which he made at the age of 73, Hitchcock succeeded in accelerating the protagonist's involvement by portraying the troublesome character of the detective in a "soft" way, and in his final work, "Family Plat," he brilliantly incorporated the "lover" character, which had previously been a factor that hindered the movement in Hitchcock's films, into the movie, with both protagonists being entangled in the events.

★Public vs. Private

While the collaborators in Hitchcock's skill-based movements are solely focused on the "public" movement, centered on good and evil, morality, and truth, the skill-deprived characters—such as the milkman who lent Robert Donat his uniform in "The 39 Steps," or the farmer's wife who helped him escape, or the truck driver who lied to the police in "Saboteur" to help Robert Cummings escape—are driven not by rational "public" motives like saving lives or morality, but by extremely private emotions like curiosity, love, and dislike of the police, and are filled with private curiosity far removed from morality, like Grace Kelly in "Rear Window."

★Personal

The Hitchcockian movement of characters getting caught up in events, while being thrown around by the MacGuffin, is an extremely personal movement far removed from the social status of the characters. Completely liberated from the constraints of being a spy or civil servant, they engage in an extremely personal movement—an "doing" ●In "The Lady Vanishes," Margaret Lockwood's movement to "find the missing woman, Floy (Dim May Whitty)" was so intense that she declared in the corridor during her first meeting with Dr. Paul Lucas, "If Floy isn't here, I'll stop the train!" This happened long before she knew about the national conspiracy. What she is doing is neither protecting state secrets nor crushing a group of Nazis, but an extremely personal movement to prove that "I definitely saw it." While it's possible to find a public, life-saving motive in "searching for a missing person," Margaret Lockwood's search began when, after Froi disappeared from her sight after she was hit on the head by a fallen flowerpot and became "weak" (unsteady), she asked, "Where's my friend?" to which the Italian magician Selma Buzz Diaz replied, "You've forgotten because you hit your head," to which Lockwood angrily retorted, "How rude!" and stormed off. From then on, every time various people told her, "You've hit your head," she became increasingly ill-tempered. What she was engaged in was a private struggle for the pride of a girl, not a life-saving effort. That's why, a little while later, when the woman in the adulterous couple said, "I saw Froi too," she smiled brightly and said, "See! She was triumphant, and even after her testimony was doubted again with the appearance of the fake Floy, when the doctor confessed to her that "that woman is actually Floy," she shook hands with Michael Redgrave with a huge smile, completely forgetting at this point that Floy was wrapped up in bandages like a mummy and it was unclear whether she was alive or dead, and her joy mirrored the character of Margaret Lockwood as "a rich girl heading to London to get married," and her movement converged on the extremely personal point of "proving her own experience." Criticism of this film often points out that it is a movie that alludes to war while mocking politically apathetic people, such as two British gentlemen who only think about cricket and a pacifist having an affair, by likening them to English pacifists (like Chamberlain) who left Hitler alone. However, it is precisely because they are indifferent to everything other than cricket that the protagonist can be isolated, and criticism that interprets this as "criticism" overlooks the fact that even the protagonist, Margaret Lockwood, is campaigning not for political reasons but to satisfy her own personal desires. In "Foreign Correspondent," Joel McCrea's movement, after no one believed what he saw at an Amsterdam windmill, begins with the extremely personal statement, "I definitely saw it." ● The movements of protagonists accused of criminal offenses, such as Robert Donat in "The 39 Steps," Derrick De Marney in "Young and Innocent," Cary Grant in "North by Northwest," and also Farley Granger in "Strangers on a Train," Henry Fonda in "The Wrong Man," and John Finch in "Frenzy," are not aimed at the public objective of protecting state secrets or arresting criminals, but rather solely at the private realm of proving their own innocence or seeking revenge. It is precisely for this reason that they are suspected of crimes, but the protection of state secrets and the arrest of the real culprits are merely MacGuffins that come "afterward" as a result of their privately ongoing movements. In "NORTH BY NORTHWEST," when Cary Grant is asked by intelligence agent Leo G. Carroll to help prevent the leakage of state secrets, he flatly refuses, saying, "I'm an advertising guy, not a professional spy." This is because his cooperation in the "public" task of protecting state secrets stems from nothing more than his personal love for Eva Marie Saint, who is infiltrating the enemy as a spy. In "VERTIGO," James Stewart also reveals his personal desires when Kim Novak refuses to wear the clothes he wants, saying, "Do it for me!" And towards the end of the film, when he climbs the church steps with Kim Novak to uncover the truth about the murder, he is genuinely delighted when his vertigo is cured, exclaiming, "I made it!", completely forgetting about the existence of Tom Helmore's wife, who was the victim of the murder.Thus, when Hitchcock films movements involving people getting caught up in the situation, he engages in extremely personal movements, but among the Skill movements, only "Notorious" is thoughtfully crafted from a movement theory perspective to remain in the personal realm. When Ingrid Bergman is recruited as a spy by FBI agent Cary Grant, she is asked, "You have patriotism, don't you?" to which she replies, "Just hearing the word patriotism makes me sick. No thank you." Even after hearing her own words, "I do have patriotism," recorded on a wiretapped conversation with her father, she still refuses to accept the mission, saying, "I'm not going to become a police informant." This development is quite different from when John Gielgud in "SECRET AGENT" was asked by his superior officer, "Do you have patriotism?" and he immediately replied, "Yes." In "Notorious," Bergman agrees to become a spy to atone for her father's disgrace, or to secure an identity that proves she too can do it, or to be reborn through her love for Cary Grant. In any case, it is difficult to find any tendency toward "public" action in the actions she actually takes, and the proactivity of "public" action is stripped away from Bergman through the accumulation of extremely subtle details.

★ "FAMILY PLOT"

Hitchcock's final film, "FAMILY PLOT," follows Barbara Harris, a fortune teller (medium), and Bruce Dern, a taxi driver, as they are hired by an elderly woman to find her heir. This couple, with virtually no social standing, relentlessly search for their target in order to earn the $10,000 reward for finding the heir. As a result, they manage to catch the perpetrator of a series of kidnappings that the police were unable to handle. Despite this, Barbara Harris smiles and winks at the camera, much like Anna Karina in the final scene of Godard's "A Woman Is a Woman" (July 1, 1961), and that smile is what makes it so memorable! Her extremely private smile, as if to say, "See? My psychic powers were real," is nothing less than the extremely private smile of a woman who has privately proven an extremely private event, and her fresh face, which shows not a trace of joy at solving a series of kidnappings, encapsulates the characters in Hitchcock's previous films who continued to privately prove numerous private events, and also privately evokes the last works of B-movie directors who imprinted private movements on film, such as Robert Aldrich's "The California Dolls" (1981.10.16) and Don Siegel's "Jinxed!" (1982.10.22). They continued their movements purely privately, and the unexpected "public" event of "arresting a vicious kidnapper" only came "later."

★A Stall - Only "Notorious" (1946) remains...

Hitchcock's skillful movements often approach the "public." ●Gregory Peck in "The Paradine Case" remains obsessed with winning the "public" process of an acquittal in court. ●Jane Wyman in "Stage Fright" plays a role and works tirelessly to help Richard Todd, for whom she secretly has feelings, escape, but even after she develops feelings for Detective Michael Wilding, she cooperates with the investigation of the case out of a "public" moral sense that "you can't frame an innocent person." In "I Confess," Father Montgomery Clift, who is accused of murder, is framed and nearly loses his life for upholding a highly rational and altruistic "public duty" of "maintaining confidentiality." Frederick Stafford in "Topaz" infiltrates Cuba as a spy with a selfless "public" motive, believing that "America has lost its connection with Cuba after the Bay of Higgs incident. I cannot ignore the current situation in Cuba." In these rescue movements, the "public" motive of helping others comes first, and the movement is activated "afterward" as a result. In contrast, in "Notorious," when Cary Grant rescues Bergman from Claude Rains' mansion, private movements by people "softened" by love merely summon the "public" motive of helping others (solving the spy case) "afterward." Howard Hawks' Humphrey Bogart in "To Have and Have Not" (October 11, 1944) always maintained political neutrality, and even when rescuing a resistance couple, the private motive of "repaying their lodging expenses" was deliberately added. This serves as evidence that movement is inherently a private event, far removed from reason. This is a completely different trajectory of activism compared to Michael Curtis's Humphrey Bogart in "Casablanca" (November 26, 1942), where Bogart helps a couple who lost at a casino purely out of "public" motives, and also withdraws from his romance with Bergman out of "public" feelings.

★"JAMAICA INN"

Maureen O'Hara, a young woman who has just lost her mother and is relying on her only remaining relative, her aunt (Marie Ney), arrives at the dilapidated Jamaica Inn in a British port town from Ireland. There, she becomes entangled in a mass murder plot orchestrated by her aunt's husband (Leslie Banks) and the manipulating landowner Charles Laughton. Working with Robert Newton, an investigator who has infiltrated the gang, she solves the case. The story begins with Maureen O'Hara saving the stranger Robert Newton from being lynched and hanged by the gang, a public act of saving a life, and continues until she discovers the true nature of the gang... Maureen O'Hara, pursued by the bandits, initially succeeds in escaping from the inn, but then, driven by the public motive of preventing her aunt Marie Ney, the wife of the bandit leader, from being punished, she deliberately returns to the dangerous inn. Furthermore, she then runs up the cliff, fights with the bandits' guards, lights the lighthouse, and saves lives from a shipwreck. Her sister Marie Ney, also driven by the public motive of preventing the shipwreck's crew from being massacred, helps investigator Robert Newton, who is tied to a chair, escape, and Robert Newton, too, continues to perform his public duties until the very end. While it may appear to be a story of Maureen O'Hara being dragged into trouble, lacking detective skills, her actions are not merely those of being dragged into trouble, but rather proactive actions directed towards the public, which makes Maureen O'Hara's reluctant involvement seem rigid.

★ "The Man Who Knew Too Much" (1956) and "The Man Who Knew Too Much" (1934)

These two films, which inherently contain weaknesses as stories about a married couple, are also tinged with the shadow of "public." It's easy to forget due to the brilliant direction, but at the Albert Hall, Edna Best (Doris Day) saved the prime minister of a certain country with her scream, not her kidnapped daughter (or son). She realizes at the Albert Hall that the target of the assassination plot is the prime minister of a certain country who is attending the concert, and she screams to save the prime minister. However, saving the prime minister and saving the kidnapped child are not directly causally linked, and saving the prime minister could even endanger the child's life, as it might be seen as getting in the way. Hitchcock painstakingly directed this scene to avoid it becoming a public event, making it appear as an impulsive action by Doris Day. Even if no such thing as a 100% private action exists, the actions of these women, who sensed the danger to another's life and cried out in tears, are revealed to be very close to a public act of saving a life. In "The Man Who Knew Too Much" (1956), the couple then proactively seeks the cooperation of the police of their own volition, and in that respect, the degree to which it approaches the public is even more accelerated than in the original "The Man Who Knew Too Much" (1934).

★ "Rear Window" and the Police Call

● In "Rear Window," James Stewart witnesses Miss Lonely Heart's suicide attempt in the apartment across the street and calls the police. While this appears to be a public action aimed at saving a life, Miss Lonely Heart abandons her suicide attempt, rendering the call ultimately meaningless. As we will examine in Chapter Three, the call is then transformed into a call to save Grace Kelly, who has broken into the apartment across the street. Miss Lonely Heart's suicide attempt and the subsequent call are MacGuffins to save her lover, Grace Kelly, and therefore have no public significance in themselves, dissolving into a private action. Here, we must not overlook the careful avoidance of the public act of directly calling the police to help Grace Kelly. It is an incredibly meticulous script.

★ "Foreign Correspondent" and "Saboteur"

These two films, shot around the outbreak of World War II, reveal some "public" . Filmed right as America was heading into war after the attack on Pearl Harbor, "Saboteur" is a "caught up in the crossfire" type of film in which Robert Cummings, suspected of murder in a sabotage incident at an aircraft factory in California, flees from the West Coast to the East Coast. Here, the fugitive Robert Cummings takes refuge in a house in the woods during his escape and is helped by the blind man Bowhan Glazer. Glazer, who is the uncle of the heroine Priscilla Lane, somehow immediately sees through the fact that Robert Cummings is on the run and handcuffed. Not only does he oppose his niece Priscilla Lane's insistence that it is her civic duty to turn him in to the police, citing the law of presumption of innocence, and stops her by saying, "I can see the truth, I know he is innocent," and persuades Priscilla Lane to cooperate with Robert Cummings, even introducing her to a blacksmith friend who can cut the handcuffs. Peggy Ashcroft, the farmer's wife in "The 39 Steps," also learns from the newspaper that Robert Donat is a fugitive, yet she trusts him without hesitation and helps him escape. ● This may seem similar to Bowhan Glazer in "Saboteur," but it is because she, living in the countryside with her much older, strict Catholic husband, falls in love with the handsome and sophisticated Robert Donat who has come from the city, and it is by no means a rational judgment that Robert Donat is a "trustworthy person." Just as the "believing" of characters like Grace Kelly in "Rear Window" and Anna Massey in "FRENZY" were based on extremely uncertain and peripheral sensations of the five senses, even if Bowhan Glazer's "Believing" is also based on the dense senses of a blind man perceiving the vibrations of voices and the heartbeats of bodies, the confident and rational words and actions that stem from it limit his movement to a uniformity far removed from the complexity and uncertainty of "seeing" and "hearing." Moreover, the way his niece Priscilla Lane, persuaded by Bowhan Glazer's moral attitude to act alongside Robert Cummings, is governed by a proactivity based on "truth," in stark contrast to Madeline Carroll in "THE 39 STEPS" and Nova Pilbeam in "Young and Innocent," who are forced to cooperate as if caught up in the protagonist's events. Furthermore, even Pedro de Córdoba, the ringmaster of the circus into which Robert Cummings and Priscilla Lane later ended up, saw Robert Cummings' handcuffs and knew he was a fugitive, yet he went to the trouble of proposing a vote by majority decision, an extremely democratic and rational method, to ask his troupe members whether they wanted to help him. He then cursed those who opposed him as "fascists!" and declared, "We must not be bystanders," and "We must help those in need," making the decision to shelter the two with a majority vote—an extremely proactive decision. According to Norman Lloyd, who appeared in a Hitchcock documentary, Pedro de Córdoba was an actor who often appeared in Shakespearean plays, and his roundabout way of speaking and pronunciation, like Bowhan Glazer's portrayal of the blind man, is dominated by a degree of agency far removed from the childish character typical of Hitchcock's "involved movement" films (Norman Lloyd, who fell from the Statue of Liberty, is more Hitchcockian). And as for his accomplice, Priscilla Lane, the circus woman said, "What moved me was how this girl clung to him." She simply defends him without saying a word. This made me think: a good person is someone who helps others in need.' She is moved by this public statement and readily believes Robert Cummings, but this is not done with the absurd complexity of Grace Kelly's "seeing" in "Rear Window" or Anna Massey's "smelling" the smell of lice, nor is there any delicate staging like Nova Pilbeam's "softening" towards Derrick de Marney in "Young and Innocent." The way she suddenly believes Robert Cummings simply by "reading" the words of the circus woman is enveloped in a distinctly different agency compared to other "involved" movement.Furthermore, Frank Skinner's music is very sentimental and evokes good and evil, and Robert Cummings not only responds to Otto Krueger, the mastermind of the sabotage, who said, "The masses are stupid. Democracy is inefficient," with the publicly stated, "The masses are not stupid. America will unite and fight you," but in New York, he actively cooperates with the police in arresting the perpetrators and, unbelievably, extends a hand to Norman Lloyd, the saboteur who is hanging precariously from the Statue of Liberty, saving his life. While this may seem like an unremarkable event at first glance, when a public movement like saving a life suddenly appears on screen for a Hitchcockian protagonist, it surprises me as an incredibly awkward movement. ● Whether it's Derrick De Marney reaching out to Nova Pilbeam as she's about to fall into the abandoned mine in "Young and Innocent," ● or Cary Grant saving Eva Marie Saint from falling off Mount Rushmore in "NORTH BY NORTHWEST," or ● or James Stewart jumping into the sea to save Kim Novak in "VERTIGO," there's not a trace of any "public" motive like saving a life. They reach out to their loved ones as an extremely private and instinctive reflex, and it's an emotion of Hitchcockian movement that draws you into the private realm of "doing." In my paper on Mikio Naruse, I examined how, as Japan's war intensified, the characters became more proactive, leading to a kind of stagnation in Naruse's films, which were driven by handsome leading men. Similarly, in Hitchcock's films, the event of war seems to be a factor that makes the characters Proactive (● Even in "The Lady Vanishes," a film that captures a very personal movement, a gunfight is inserted—a Proactive event that will never be seen again in Hitchcock's films thereafter. This proactivity brought about by war is also present in ● "Foreign Correspondent," a film made before America entered the war (December 8, 1941). From the latter half of the film, the Proactive cooperation of George Sanders, who is both a collaborator and a journalist, begins to dominate the screen. George Sanders, who, according to fellow journalist Robert Benchley, is a man with "instant hearing and knows everything," reveals in the sequence after Joel McCrea is about to be pushed off the temple's observation deck by private detective Edmund Gwain that Edmund Gwain is actually a hitman. George Sanders knew everything, including that Herbert Marshall was a spy, and not only provided Joel McCrea with detailed information, but later planned the kidnapping of Laraine Day to threaten her father, Herbert Marshall, and obtain information.

Even in the heroine's character, Laraine Day, when Joel McCrea enters her room by climbing up the hotel wall and tries to leave with a (cheesy) act meant to evoke sympathy, trusts McCrea not by "seeing" or "smelling," but by "reading." Later, she loses faith in him again over the trivial fact that McCrea has "booked another room at the hotel," and prioritizes accompanying her father, Herbert Marshall. This is similar to how Priscilla Lane in "Saboteur" easily lost faith in Robert Cummings, whom she had once trusted, and how she trusts or distrusts based on her standards of good and evil. This is clearly different from Nova Pilbeam in "Young and Innocent," who remained devoted to Derrick de Marney until the end, even to the point of nearly forcing her father, Percy Marmont, to resign. War forbids the protagonist from becoming overly "soft" and demands subjective actions driven by "public" standards, such as accompanying her father and pursuing the truth. Even when numerous details are placed to draw McCrea into the movement of "doing," the ghost of "public life" unexpectedly surfaces. Of all the films Hitchcock made during the war, only "Shadow of a Doubt" successfully captures the movement of "doing" in a private realm, an escape from the war. Hitchcock's films are like delicate and fragile precision machines; no perfect work exists where all details respond perfectly, and many are shaped precariously by fusing with dangerous details.

★Livestock

In contrast, the movement of being swept up in something and losing one's skills is filmed with the human element stripped away to the extreme, and the Canadian traveler in "THE 39 STEPS," whose occupation, past, and everything else is unknown, is the epitome of this animalistic movement of "doing" that is stripped of the human element = the past and driven only by the present. The anecdote that Hitchcock said, "Actors are livestock," is difficult to generalize as its specific meaning has been interpreted in retrospect ("The Art of Filmmaking," pp. 127 et seq.), but the actors in Hitchcock's movement of being swept up in something, who are tossed around like chess pieces or pinballs without their own will or agency, are not psychological and real human beings but material and unrealistic animals, and if you keep them at home they become "livestock," so Hitchcock's words, "Actors are livestock," may not have been so far off the mark.

★Flashbacks

The following are the Hitchcock films that feature flashbacks (see the Hitchcock Flashback Chart)

★Flashbacks to the Past

During the silent era, ● “THE RODGER” included lengthy flashbacks, such as the scene where Iva Novello’s sister is murdered, and ● “EASY VIRTUE” featured a trial conducted in the form of a flashback recounting the incident; however, ● starting with “THE MAN WHO KNEW TOO MUCH” (1934), films that include long flashback scenes depicting past events—which can truly be called ‘flashbacks’—are ● “STAGE FRIGHT” ● “I Confess,” and “MANIE.” These films, which feature very long flashbacks of events occurring before the film begins, all share the commonality of being proactive works shot in the “Skil” style. Additionally, in “SPELLBOUND,” the protagonist’s past is explored through dream analysis and psychoanalysis, and ● In *Under Capricorn*, while there are no flashbacks, the film depicts the characters “reclaiming their past selves,” and ● in *Dial M for Murder*, Grace Kelly’s past affair serves as the starting point for an endless explanation of past events—from the theft of a letter to blackmail. Thus, in Hitchcock’s films, works featuring the “skill movement” tend to depict events directed toward the past or the truth. In contrast, in the skill-loss-type “drawn-in” film *Shadow of a Doubt*, Joseph Cotton’s murder is merely indirectly hinted at through dance scenes with the widow set to the melody of “The Merry Widow” inserted throughout the film. As for the motive for the murder, while his sister Patricia Collinge explains that Joseph Cotton became mentally unstable due to a bicycle accident he had as a child, unlike in *Spellbound* or *Maniac*, where Joseph Cotton is led back to his past through psychoanalysis to arrive at a logical conclusion, Joseph Cotton continues to act out the current movement as it is, (The relationship between psychoanalysis and movement, as well as the relationship between the criminal and the past, will be discussed later), and combined with the current crisis of the adolescent girl Teresa Wright, the narrative is thoroughly focused on the present. The act of getting involved is an animalistic "doing" and animals have no past, so there is basically no way for a movie to go back in time. ● Just as the fact that the victim in "Young and Innocent" was once the patron of the protagonist Derrick De Marney is merely a MacGuffin to strengthen the suspicion against him, and ● Just as the anecdote about Kim Novak's great-grandmother in "Vertigo" was a MacGuffin to deceive James Stewart, and ● In "FAMILY "PLOT," the will of past spirits is merely a MacGuffin that triggers the detective work and is not important in itself. Similarly, in "FRENZY," John Finch, who is on the run after being accused of murder, hastens the divorce by claiming he was violent towards his ex-wife, the victim, which strengthens the suspicion against him. In works where the audience is drawn into the "doing" of the film, the past prior to the start of the film often only appears in the movie as a MacGuffin that strengthens the suspicion against the protagonist or initiates the action, and is never aimed at itself. After the action itself is initiated, that past has served its purpose and vanishes without a trace. In contrast, skill movement films such as "STAGE FRIGHT," "I Confess," "MANIE," "SPELLBOUND," and "UNDER CAPRICORN" endanger the skill movement because the movement is directed towards the truth of the past itself, allowing for a rapid approach to "being," which differs from Howard Hawks' professional skill movement, which is directed entirely towards the present (Hawks will be discussed later). Among the movement of skill loss, there is only one film in which the movie goes back towards the truth of the past, "Revecca," which begins and ends in the form of a flashback by Joan Fontaine, and after the film shifts direction toward the past, specifically whether Laurence Olivier killed his wife Rebecca, Laurence Olivier's movement, which recalls the "origin," becomes proactive.

To be continued in Part 2.