YEAR
|
FILM
|
CAMEO APPEARANCE
|
1925
|
THE PLEASURE GARDEN
|
|
1926
|
THE MOUNTAIN EAGLE
|
|
|
THE LODGER
|
seen from the rear in an
office scene; later, he is possibly a member of the crowd during the arrest
|
1927
|
DOWNHILL
|
|
|
EASY VIRTUE
|
walks past a tennis court
carrying a walking stick
|
|
THE RING
|
|
1928
|
THE FARMER'S WIFE
|
|
|
CHAMPAGNE
|
|
1929
|
HARMONY HEAVEN
|
|
|
THE MANXMAN
|
|
|
BLACKMAIL
|
reading a newspaper on the
subway while a little boy bothers him
|
1930
|
ELSTREE CALLING
|
|
|
JUNO AND THE PAYCOCK
|
|
|
MURDER
|
passes by with female
companion as Herbert Marshall leaves house where murder occurred
|
1931
|
THE SKIN GAME
|
|
1932
|
RICH AND STRANGE
|
|
|
NUMBER SEVENTEEN
|
|
1933
|
WALTZES FROM VIENNA
|
|
1934
|
THE MAN WHO KNEW TOO MUCH
|
|
1935
|
THE 39 STEPS
|
passes by in the street when
Robert Donat leaves the Music Hall with "Annabella Smith"
|
1936
|
THE SECRET AGENT
|
|
|
SABOTAGE
|
patron at the ticket window
of the cinema? shot cut?
|
1937
|
YOUNG AND INNOCENT
|
a frustrated photographer
outside the courtroom
|
1938
|
THE LADY VANISHES
|
seen at Victoria Station,
shruggig his shoulders to male companion, as train arrives in London at end
|
1939
|
JAMAICA INN
|
|
1944
|
BON VOYAGE
|
|
|
AVENTURE MALGACHE
|
|
YEAR
|
FILM
|
CAMEO APPEARANCE
|
1940
|
REBECCA
|
near phone booth when George Sanders makes a call: shot
cut from final film; visible in background when Sanders argues with
policeman?
|
|
FOREIGN CORRESPONDENT
|
reads newspaper & passes Joel McCrea in the street
|
1941
|
MR. AND MRS. SMITH
|
outside "Mr. & Mrs. Smith's" apartment
|
|
SUSPICION
|
puts letter in mailbox in front of village bookstore
|
1942
|
SABOTEUR
|
at news stand outside NYC drugstore
|
1943
|
SHADOW OF A DOUBT
|
holds a flush (all spades) in card game on train
|
|
LIFEBOAT
|
pictured in an ad for ÒReducoÓ in newspaper read by
William Bendix
|
1945
|
SPELLBOUND
|
gets off elevator in hotel carrying violin case
|
1946
|
NOTORIOUS
|
one of the party guests drinking champagne
|
1947
|
THE PARADINE CASE
|
leaves train station carrying cello case
|
1948
|
ROPE
|
his signature profile flashes on & off in red neon in
the background nighttime cityscape
|
1949
|
UNDER CAPRICORN
|
on steps of Government House as Michael Wilding arrives by
carriage; AH's only cameo in period costume
|
1950
|
STAGE FRIGHT
|
turns back to look at Jane Wyman as she talks to
herself on the street
|
1951
|
STRANGERS ON A TRAIN
|
boards train at Metcalf station carrying double bass
|
1952
|
I CONFESS
|
crosses top of long outdoor staircase at start of film
|
1954
|
DIAL M FOR MURDER
|
pictured in reunion photo Ray Milland takes off the wall
to show Anthony Dawson
|
|
REAR WINDOW
|
winds clock in songwriterÕs courtyard apartment
|
1955
|
TO CATCH A THIEF
|
sits next to Cary Grant on the bus (not visible unless filmed viewed
widescreen)
|
1956
|
THE TROUBLE WITH HARRY
|
walks past John Forsythe's outdoor art exhibition
|
|
THE MAN WHO KNEW TOO MUCH
|
seen from the rear watching some acrobats in the
Moroccan marketplace
|
1957
|
THE WRONG MAN
|
introduces the movie in the prologue
|
1958
|
VERTIGO
|
crosses the street outside Gavin Elster's office carrying
cornet case
|
1959
|
NORTH BY NORTHWEST
|
at end of credits, hustles to catch a bus and its doors
slam in his face
|
1960
|
PSYCHO
|
stands on sidewalk outside Janet Leigh's office
wearing Stetson cowboy hat
|
1963
|
THE BIRDS
|
walks two dogs (his own) from pet shop in 1st scene
|
1964
|
MARNIE
|
emerges from a room into the hotel corridor, looks at
Tippi Hedren, and then looks at the camera
|
1966
|
TORN CURTAIN
|
sitting in Copenhagen hotel lobby with baby on his lap
|
1969
|
TOPAZ
|
in wheelchair, pushed by nurse, at New York airport
|
1972
|
FRENZY
|
spectator wearing bowler hat at the rally right after the
credits, when a body floats in to shore
|
1976
|
FAMILY PLOT
|
seen in silhouette through the frosted glass of the door
of the office of the Registrar of Births and Deaths
|