Οι cameo εμφανίσεις του Χίτσκοκ στις ταινίες του.

Οι cameo εμφανίσεις του Χίτσκοκ στις ταινίες του, αυτά τα απολαυστικά, απροσδόκητα σύντομα περάσματα, αποτελούν σήμα κατατεθέν της δουλειάς του. Όπως ο ίδιος είχε παραδεχτεί, φρόντιζε να εμφανίζεται στις πρώτες σκηνές κάθε έργου, προκειμένου να ικανοποιεί την ανυπομονησία του κοινού, επιτρέποντας του στην συνέχεια να μπει στο ρυθμό της πλοκής απερίσπαστο. Αυτό που λίγοι γνωρίζουν, είναι πως ο ιδιόρρυθμος σκηνοθέτης πρωτοεμφανίστηκε σε ταινία του, και συγκεκριμένα στο «Νοικάρη» του 1926, για λόγος καθαρά πρακτικούς. Η απουσία κομπάρσων και η ανάγκη να γεμίσει το πλάνο, οδήγησε στην πρώτη του εμφάνιση στο γυαλί, πολύ πριν αυτό εξελιχθεί σε συνήθεια....

37/41 cameos missing pictures for EASY VIRTUE, SABOTEUR, ROPE and UNDER CAPRICORN.

	THE LODGER (1926) At a desk in a newsroom.
	BLACKMAIL (1929) Being bothered by a small boy as he reads a book in the subway.
	MURDER (1930) Walking past the house where the murder was committed, about an hour into the movie.
	THE 39 STEPS (1935) Tossing some litter while Robert Donat and Lucie Mannheim run from the theater, seven minutes into the movie.
	YOUNG AND INNOCENT (1938) Outside the courthouse, holding a camera.
	THE LADY VANISHES (1938) Very near the end of the movie, in Victoria Station, wearing a black coat and smoking a cigarette.
	REBECCA (1940) Walking near the phone booth in the final part of the film just after George Sanders makes a call.
	FOREIGN CORRESPONDENT (1940) Early in the movie, after Joel McCrea leaves his hotel, wearing a coat and hat and reading a newspaper.
	MR. AND MRS. SMITH (1941) Midway through, passing Robert Montgomery in front of his building.
	SUSPICION (1941) Mailing a letter at the village postbox about 45 minutes in.
	SHADOW OF A DOUBT (1943) On the train to Santa Rosa, playing cards.
	LIFEBOAT (1944) In the "before" and "after" pictures in the newspaper ad for Reduco Obesity Slayer.
	SPELLBOUND (1945): Coming out of an elevator at the Empire Hotel, carrying a violin case and smoking a cigarette. Criterion Collection DVD Chapter 9 at 43:07
	NOTORIOUS (1946) At a big party in Claude Rains's mansion, drinking champagne and then quickly departing, an hour after the film begins. Criterion Collection DVD - Chapter 18 "The Party" at 01:04:39
	THE PARADINE CASE (1947) Leaving the train and Cumberland Station, carrying a cello.
	STAGE FRIGHT (1950) Turning to look at Jane Wyman in her disguise as Marlene Dietrich's maid.
	STRANGERS ON A TRAIN (1951) Boarding a train with a double bass fiddle as Farley Granger gets off in his hometown, early in the film.
	I CONFESS (1953) Crossing the top of a staircase after the opening credits.
	DIAL M FOR MURDER (1954) On the left side of the class-reunion photo, thirteen minutes into the film.
	REAR WINDOW (1954) Winding the clock in the songwriter's apartment, a half hour into the movie.
	TO CATCH A THIEF (1955) Ten minutes in, sitting to the left of Cary Grant on a bus.
	THE TROUBLE WITH HARRY (1955) Walking past the parked limousine of an old man who is looking at paintings, twenty minutes into the film.
	THE MAN WHO KNEW TOO MUCH (1956) Watching acrobats in the Moroccan marketplace (his back to the camera) just before the murder.
	VERTIGO (1958) In a gray suit walking in the street, eleven minutes in.
	NORTH BY NORTHWEST (1959) Missing a bus during the opening credits.
	PSYCHO (1960) Four minutes in, through Janet Leigh's window as she returns to her office. He is wearing a cowboy hat.
	THE BIRDS (1963) Leaving the pet shop with two white terriers as Tippi Hedren enters. Universal DVD - at 00:02:18
	MARNIE (1964) Entering from the left of the hotel corridor after Tippi Hedren passes by, five minutes in.
	TORN CURTAIN (1966) Early in the film, sitting in the Hotel d'Angleterre lobby with a blond baby.
	TOPAZ (1969) Being pushed in a wheelchair in an airport, half an hour in. Hitchcock gets up from the chair, shakes hands with a man, and walks off to the right.
	FRENZY (1972) In the center of a crowd, wearing a bowler hat, three minutes into the film; he is the only one not applauding the speaker.
	FAMILY PLOT (1976) In silhouette through the door of the Registrar of Births and Deaths, 41 minutes into the movie.

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