During a career that spanned more than half a century, Alfred Hitchcock directed over fifty films, and worked on a number of others which never made it beyond the pre-production stage.
1920s Number 13
This was to be Hitchcock's directorial debut, after working in the art department on twelve films previously, but budgetary problems cancelled the production after only a few scenes were shot. Studio records indicate that its title was to be Mrs. Peabody.
Good Night, Nurse! In 1922, Hitchcock hand-wrote Good Night, Nurse!, an eight-page draft treatment for an original screenplay. – via The Hitchcock Zone It is said to be the earliest known surviving piece of original screen writing by Hitchcock. No film was made from the material.
Huntingtower In 1926, the Scottish press reported that Hitchcock was visiting to scout locations for an adaptation of John Buchan's 1922 novel Huntingtower. Carlyle Blackwell, who had produced The Lodger: A Story of the London Fog (1927), was named as the lead actor.Dundee Courier. (08/Jun/1926).Variety. (30/Jun/1926).
Life of a City According to Hitchcock, since 1928 he had wanted to film an idea of his called Life of a City. He told Peter Bogdanovich: "I want to do it in terms of what lies behind the face of a city—what makes it tick—in other words, backstage of a city. But it's so enormous that it is practically impossible to get the story right. Two or three people had a go at it for me but all failed. It must be done in terms of personalities and people, and with my techniques, everything would have to be used dramatically."
Tambourine In March 1929, The Times newspaper announced that Hitchcock would be directing Tambourine for British International Pictures, based on a screenplay by Benn Levy. The following month, Variety reported that Hitchcock would follow Juno and the Paycock (1930) with Tambourine.
1930s The Park After completing Juno and the Paycock (1930), playwright Seán O'Casey and Hitchcock began planning an original screenplay, The Park, based on the "comings and goings in a small public park during one day as a sort of microcosm of city life".Hitch: The Life and Times of Alfred Hitchcock (1978) by John Russell Taylor, page 85 The planned project came to nothing and, instead, O'Casey used the idea for his 1934 play Within the Gates.
The Man at Six
In October 1930, British International Pictures announced their upcoming schedule of films, which included two linked to Hitchcock; The Man at Six and Rich and Strange (both 1931). The Man at Six ended up being assigned to director Harry Hughes.
The Return of Bulldog Drummond In January 1933, it was announced that Hitchcock was to direct a film based on the popular H. C. McNeile Bulldog Drummond book series for British International Pictures, tentatively titled The Return of Bulldog Drummond.
Forbidden Territory British thriller writer Dennis Wheatley had been a guest on the set of many of the early Hitchcock movies, and when The Forbidden Territory was published in January 1933, he presented the director with a copy. Hitchcock so enjoyed the book that he wanted to make a film of it, but he was just in the process of moving to Gaumont-British studios to work for Michael Balcon, he asked Wheatley to hold onto the rights until he could persuade his new employer to purchase them. When the time came, however, Balcon wasn't interested and instead insisted that Hitchcock direct the musical Waltzes from Vienna (1934). Hitchcock then approached Richard Wainwright, a distinguished producer who had been head of UFA films in Germany, and had recently relocated to Britain. Wainwright was keen to pick up a promising subject for his first British film, and immediately bought the rights. Although there was a verbal understanding that Hitchcock was to direct, Balcon refused to release him, and instead began production of The Man Who Knew Too Much (1934). Wainwright, committed to studio space, technicians and actors, had no alternative but to proceed without him, and placed the film into the hands of American director Phil Rosen. In 1936, at Hitchcock's instigation, Wheatley wrote a screenplay The Bombing of London, but the controversial project could find no backer and was shelved.
Road House
It was announced that Hitchcock would be directing Road House (1934), based on the play by Walter C. Hackett.The Times. (15/Feb/1934). "Three other films to be made within the next month or so will be The Haunted House, in which Mr. Gordon Harker will appear as the keeper of a lonely lighthouse on the coast of Wales; Road House, which will be directed by Mr. Alfred Hitchcock, with Mr. Gordon Harker and Miss Violet Loraine in the principal parts; and Evensong, based on the play of the same name by Mr. Beverley Nichols and Mr. Edward Knoblock." The released film was instead directed by Maurice Elvey.
London Symphony In March 1935, several publications carried brief details about a planned film titled London Symphony, which would star actor Clive Brook and be directed by Hitchcock. The scenario was to be written by H. M. Harwood and based on an original story by Sir Philip Gibbs and his son Anthony.
Derby Day On December 17, 1935, The Times reported that a film about the annual Epsom Derby horse race was to be directed by Hitchcock for the Gaumont-British Corporation, written by himself."A film about Derby Day". The Times. December 17, 1935. "A film about Derby Day is to be directed by the Gaumont-British Corporation by Mr. Alfred Hitchcock. Though the race itself will be recorded, the story will be chiefly concerned with its possible effects on different people. The scenario is by the director." On December 21, the Lancashire Evening Post indicated that he would begin the film after finishing Sabotage (1936) and specified that "the whole of the action will take place in the ninety minutes after the luncheon interval of the renowned race meeting; the story being the effects of the event on a variety of characters."Lancashire Evening Post. (21/Dec/1935). "When Alfred Hitchcock has finished The Secret Agent (now in its seventh week) he will direct a subject devised around Derby Day, written by himself. The whole of the action will take place in the ninety minutes after the luncheon interval of the renowned race meeting, the story being the effects of the event on a variety of characters." On December 28, Sunderland Daily Echo and Shipping Gazette referred to Derby Day as one of the director's "most cherished ambitions". Speaking of the possibilities of such a film—and illustrating his ideas via quick sketches—Hitchcock began: "Think of the opportunities of the subject. You have the Downs, covered by the great town of temporary structures which rise up in a night, fortune-tellers' stalls, tea-tents, restaurant marquees, cloakrooms, offices, the vast crowd, in which princes and peasants mingle: the mass of buses ... even the Salvation Army meetings.""Screen Gossip". Sunderland Daily Echo and Shipping Gazette. December 28, 1935.
In a 1937 article for Sight and Sound magazine, Hitchcock wrote, "I certainly should like to make a film of the Derby, only it might not be quite in the popular class. It would be hard to invent a Derby story that wasn't hackneyed, conventional. I would rather do it more as a documentary — a sort of pageant, an animated modern version of Frith's Derby Day. I would show everything that goes on all round the course, but without a story. Perhaps the average audience isn't ready for that, yet. Popular taste, all the same, does move; today you can put over scenes that would have been ruled out a few years ago." Hitchcock again mentioned the project to The New York Times in 1939: "Can there be anything more exciting or dramatic than a million people all gathered together in one afternoon — all sorts of people, from top to bottom - just to witness the running of a race? I always liken it to the Judgment Day. Well, I should like to sift, say, a dozen characters from that crowd and, within the limits of an hour and a half on that fatal afternoon, tell their stories, climaxed by the finish of the race."
In his biography of Hitchcock, Patrick McGilligan stated:
False Witness An August 1937 article in Variety noted that Hitchcock was obligated to complete two more films to fulfill his Gaumont-British contract after Young and Innocent (1937). The first was reported to be another Nova Pilbeam starrer, adapted from a French short story by Marcel Achard. Production was expected to be under way by November. Three months later, the script was complete and given the tentative title of The False Witness."DIRECTOR DELIVERS SCRIPT". Maryland Cumberland Times. November 14, 1937. "Alfred Hitchcock and his wife, the former Alma Reville, have emerged from their Surrey retreat, it was announced this week, with the completed script of his new picture, tentatively titled The False Witness. It is based on the French short story of the same name by Marcel Achard. Nova Pilbeam will be starred." In May the following year, in a piece listing twenty-four upcoming Gaumont-British films that would be released in the U.S., the Independent Exhibitors Film Bulletin named the project as Perjury.14/May/1938 issue of Independent Exhibitors Film Bulletin.
According to biographer Patrick McGilligan:
Instead, the studio offered Hitchcock the existing Lost Lady project—released as The Lady Vanishes (1938)—which he accepted.
The Saint in New York
In 1937, Hitchcock showed interest to Lillie Messinger of RKO Pictures in coming to America to make The Saint in New York (1938). Ben Holmes directed, and Hitchcock would go on to make Foreign Correspondent (1940) as his American film debut instead.
Untitled Edgar Wallace biopic In January 1939, Hitchcock was set to direct Sam Smith's ambitious production on the life of English writer Edgar Wallace for British Lion, budgeted at $350,000 and scheduled to begin work on March 1 of that year. Ralph Richardson was announced in the title role.
Intermezzo In February 1939, it was announced that Hitchcock would be directing the David O. Selznick production of Intermezzo.Independent Exhibitors Film Bulletin. (25/Feb/1939). "Sam Engel, former Paramount producer, has joined David Selznick's staff ... The latter will start Intermezzo in April with Alfred Hitchcock directing. This will be followed by Rebecca (1940). Wonder if the outfit has abandoned Titanic?"The Times. (02/Mar/1939). "Mr. Alfred Hitchcock, who is at present directing Mr. Charles Laughton in a film adaptation of Miss Daphne du Maurier's novel, Jamaica Inn will visit Hollywood this year to direct the American film based on the Swedish play Intermezzo. The chief characters in the play, which will be adapted for the screen by Mr. John Van Druten, are a famous musician, his wife, and a young girl accompanist." Instead, the film was directed by Gregory Ratoff.
The Flashing Stream In March 1939, it was reported that Hitchcock would be directing an adaptation of Charles Langbridge Morgan's The Flashing Stream for David O. Selznick,The Evening Telegraph. (17/Mar/1939). with reports in July listing comedic actress Carole Lombard as the female lead.The Times. (11/Jul/1939). The New York Times indicated in October that Hitchcock would return to Selznick, after he completes Foreign Correspondent (1940), to direct two films, Titanic and The Flashing Stream.
Greenmantle Hitchcock very much wanted to direct a follow-up to The 39 Steps (1935), and he felt that Greenmantle by John Buchan was a superior book. He proposed that the film would star Cary Grant and Ingrid Bergman, but the rights from the Buchan estate proved too expensive. from Ordinary Least Square
Titanic