|
YEAR
|
FILM
|
APPEARANCE
|
|
1925
|
THE PLEASURE GARDEN
|
|
|
1926
|
THE MOUNTAIN EAGLE
|
|
|
|
THE LODGER
|
seen from the rear in an office scene;
later, he is 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 as Herbert Marshall leaves
boarding house
|
|
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 as couple arrives
back in London
|
|
1939
|
JAMAICA INN
|
|
|
1944
|
BON VOYAGE
|
|
|
|
AVENTURE MALGACHE
|
|
|
1940
|
REBECCA
|
near phone booth when George Sanders makes
a call: shot cut from final film
|
|
|
FOREIGN CORRESPONDENT
|
reads newspaper & passes Joel McCrea in
the street
|
|
1941
|
MR. AND MRS. SMITH
|
panhandler passing Robert Montgomery in the
street
|
|
|
SUSPICION
|
puts letter in mailbox in front of village
bookstore
|
|
1942
|
SABOTEUR
|
at news stand outside NYC drugstore
|
|
1943
|
SHADOW OF A DOUBT
|
holds full house (all spades) in card game
on train
|
|
|
LIFEBOAT
|
pictured in an ad for “Reduco” 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 songwriter’s courtyard
apartment
|
|
1955
|
TO CATCH A THIEF
|
sits next to Cary Grant on the bus (not
visible in non-letterboxed video)
|
|
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
|
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 hotel lobby with baby on his
lap
|
|
1969
|
TOPAZ
|
in wheelchair at the airport
|
|
1972
|
FRENZY
|
spectator at the rally right after the
credits, when a body floats in to shore
|
|
1976
|
FAMILY PLOT
|
seen in silhouette through the glass of the
door of the Registrar of Births and Deaths
|