HITCHCOCK BLONDE!

<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; font-family: Verdana,sans-serif; text-align: center;"></div><div style="font-family: Verdana,sans-serif;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEtEgfYq2pNx0IZiFCdJTM-_xPWq0LAw6RAbF47HqZVvWvRjhx72y2iIMHZ2j9xW7qwb5bg9zoVwdZ20YVz8rGDStrs8-nABizsXqw1opVk1Qgx_XCk__1DU1l4Np_llA3eZscx_Ysa3wv/s1600/grace+kelly+hitchcock+blonde+bordered.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEtEgfYq2pNx0IZiFCdJTM-_xPWq0LAw6RAbF47HqZVvWvRjhx72y2iIMHZ2j9xW7qwb5bg9zoVwdZ20YVz8rGDStrs8-nABizsXqw1opVk1Qgx_XCk__1DU1l4Np_llA3eZscx_Ysa3wv/s400/grace+kelly+hitchcock+blonde+bordered.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><br /></div><div style="font-family: Verdana,sans-serif;">It began long ago, the succession of beautiful blonde actresses who combined feminine refinement and sex appeal in a way that director Alfred Hitchcock could not resist depicting onscreen many times. Over the course of his career, Hitchcock honed this character type to a fine point and his final blonde stars were scrupulously stylized to evoke a very specific image.<br /><br />Some of the most memorable:<br /><br /><a name='more'></a> </div><div class="separator" style="clear: both; font-family: Verdana,sans-serif; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZXEKS7m5UjmwozE87MNHEkjDVll65uY03oOMwyZEDxY8HjEstnVCs1r9TMFrHMv3_PUVImrJTtOaIKCa3LXwhLXiI4MQ7caY-8mOKsQ7rell48KAVDmcNMJFiCSiNuFdChdY_zTHg3_A6/s1600/joan+barry.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZXEKS7m5UjmwozE87MNHEkjDVll65uY03oOMwyZEDxY8HjEstnVCs1r9TMFrHMv3_PUVImrJTtOaIKCa3LXwhLXiI4MQ7caY-8mOKsQ7rell48KAVDmcNMJFiCSiNuFdChdY_zTHg3_A6/s1600/joan+barry.jpg" /></a></div><div style="font-family: Verdana,sans-serif;"><b>Joan Barry</b> (Emily Hill in <i>Rich and Strange</i>, 1931) London-born Barry first worked with Hitchcock when she dubbed Anny Ondra's voice for the sound version of <i>Blackmail</i>. She later starred in another of the director's early sound films, <i>Rich and Strange</i>. In addition to being a blonde, Barry possessed a delicate beauty that Hitchcock would seek again and again. (Note: This British actress shouldn't be confused with the brunette American actress who was legally entangled with Charlie Chaplin)</div><div style="font-family: Verdana,sans-serif;"><br /></div><div class="separator" style="clear: both; font-family: Verdana,sans-serif; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH5ktNVFUf-Hy7qJgDe9nxKDRw_5b-KzOuAIqKkdIEMCa8Z6y405xBzU_BsbMWayFk_InXtkmgJ6Nw7BFILz-9I-XbY1j_bhGMbaXcx8NZGxzRvLDtU350I4-RnBAL8QN4SiMBO4JM0Z4Z/s1600/madeleine_carroll3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH5ktNVFUf-Hy7qJgDe9nxKDRw_5b-KzOuAIqKkdIEMCa8Z6y405xBzU_BsbMWayFk_InXtkmgJ6Nw7BFILz-9I-XbY1j_bhGMbaXcx8NZGxzRvLDtU350I4-RnBAL8QN4SiMBO4JM0Z4Z/s1600/madeleine_carroll3.jpg" /></a></div><div style="font-family: Verdana,sans-serif;"><b>Madeleine Carroll</b> (Pamela in <i>The 39 Steps</i>, 1935, and Elsa Carrington in <i>Secret Agent</i>, 1936) Often referred to as the first of Hitchcock's "ice cool" blondes, Carroll bore a physical resemblance to Joan Barry, but possessed an aloof quality with which Hitchcock was particularly taken.  Her career skyrocketed with the success of <i>The 39 Steps;</i> following <i>Secret Agent</i> she signed with Paramount and made several films in the U.S. </div><div class="separator" style="clear: both; font-family: Verdana,sans-serif; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4qKB_2_34niC47SQXUb9SQZSbS9Z7hl2VjaOCzFD-ucKRA9Mu7mJn-54so-ghnFafntRodfW3Vq3_k1d7h3DUjB1wMuUE9MAL0559XnrXPMx3mCcPpphy0LwKeRNXdZiifS7b-7ZSEesJ/s1600/Carole+Lombard.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4qKB_2_34niC47SQXUb9SQZSbS9Z7hl2VjaOCzFD-ucKRA9Mu7mJn-54so-ghnFafntRodfW3Vq3_k1d7h3DUjB1wMuUE9MAL0559XnrXPMx3mCcPpphy0LwKeRNXdZiifS7b-7ZSEesJ/s1600/Carole+Lombard.jpg" /></a></div><div style="font-family: Verdana,sans-serif;"><b>Carole Lombard</b> (Ann Smith in <i>Mr. & Mrs. Smith</i>, 1941) Hitchcock's only screwball comedy, <i>Mr. & Mrs. Smith</i> starred one of Hollywood's great comediennes, the lovely Lombard. She sparkled as the beautiful,  well-heeled Mrs. Smith who, though more stubborn than aloof, was certainly intelligent and fashionable. Hitchcock said he directed at Lombard's request; it was the last of her films released during her lifetime.</div><div style="font-family: Verdana,sans-serif;"><br /></div><div style="font-family: Verdana,sans-serif;"><b>Grace Kelly</b> (Margot Wendice in <i>Dial M for Murder</i>, 1954, Lisa Fremont in <i>Rear Window</i>, 1954, Frances Stevens in <i>To Catch a Thief</i>, 1955) The quintessential "snow covered volcano" that all others are measured against, Kelly was one of the definitive beauties of the 1950s. An icon of elegance and refinement, she effortlessly portrayed the haughty allure that so appealed to Hitchcock. Miss Kelly, at the height of her icy heat, appears in the photo at the top of the page as well as the video below...</div><div style="font-family: Verdana,sans-serif;"><br /></div><div class="separator" style="clear: both; font-family: Verdana,sans-serif; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNudROVSnrEZz98TrTVo-YZIhWF5rGX4PBFxUef1kOPAinZ6ZgyjJXWI_OsH6P74_k5yafbe8xlfgNw9X9MbQKTEo_aJwK4p4Eg7T02HWKAykY4tfw7ggXWq_hC82_RAZosLgQBPs6TjWq/s1600/kim+novak.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNudROVSnrEZz98TrTVo-YZIhWF5rGX4PBFxUef1kOPAinZ6ZgyjJXWI_OsH6P74_k5yafbe8xlfgNw9X9MbQKTEo_aJwK4p4Eg7T02HWKAykY4tfw7ggXWq_hC82_RAZosLgQBPs6TjWq/s200/kim+novak.jpg" width="132" /></a></div><div style="font-family: Verdana,sans-serif;"><b>Kim Novak</b> ("Madeleine Elster"/Judy Barton in <i>Vertigo</i>, 1958) Novak was a top movie star in the '50s and a departure from the type Hitchcock had previously cast as his blonde love objects. Among other things, Novak was more voluptuous than those before her. In <i>Vertigo</i>, her sultry appeal was toned down with a chic and often subdued wardrobe as well as quiet but very precise makeup. In a new "twist," Novak wore her hair in an up-do through most of the film - the memorable "French Twist" Hitchcock explored with his camera. </div><div class="separator" style="clear: both; font-family: Verdana,sans-serif; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDBHT0lncG5D3hOnYwgv4ShZLx4FOa5lsPGiJQiCCEEEpC2ujPGN2kREV8Vtm-7BqCYPjraezg-RX9KUWtdVDMIGghnPMj20guqKkz5qzsrKDgn4R9e6jomZqhCY9kdCIRNf8iQFBKeZuA/s1600/eva.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDBHT0lncG5D3hOnYwgv4ShZLx4FOa5lsPGiJQiCCEEEpC2ujPGN2kREV8Vtm-7BqCYPjraezg-RX9KUWtdVDMIGghnPMj20guqKkz5qzsrKDgn4R9e6jomZqhCY9kdCIRNf8iQFBKeZuA/s1600/eva.jpg" /></a></div><div style="font-family: Verdana,sans-serif;"><b>Eva Marie Saint</b> (Eve Kendall in <i>North by Northwest</i>, 1959) Though not a sex symbol like Novak, Saint was also different from the women Hitchcock had cast before her. A method actress, she was known for starring in films like <i>On the Waterfront</i> and <i>A Hatful of Rain</i> as well as live TV dramas - what Hitchcock called "kitchen sink" roles. However, she got the full treatment once chosen to play Eve and was coiffed, gowned and made up to seductive, slightly brittle perfection. </div><div style="font-family: Verdana,sans-serif;"><br /></div><div class="separator" style="clear: both; font-family: Verdana,sans-serif; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrVz8gazRCZoNfUgSX5nycfvsVdNeHUMwdMAbeIVCMVLTuwyr5983mbyRmr8kc7fBh4j4_D-Kvl_qGC1Cb5t3ay_c4A8wElxUNQ3ob1tXA5Iprj50bXO7Vj6Ku6d4tTnOUWyaGjdeayTPa/s1600/tippi.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrVz8gazRCZoNfUgSX5nycfvsVdNeHUMwdMAbeIVCMVLTuwyr5983mbyRmr8kc7fBh4j4_D-Kvl_qGC1Cb5t3ay_c4A8wElxUNQ3ob1tXA5Iprj50bXO7Vj6Ku6d4tTnOUWyaGjdeayTPa/s200/tippi.jpg" width="181" /></a></div><div style="font-family: Verdana,sans-serif;"><b>Tippi Hedren</b> (Melanie Daniels in <i>The Birds</i>, 1963, and Marnie Edgar in <i>Marnie</i>, 1964) Hitchcock's final pale-haired icon, Hedren's was the most controlled expression of the archetype. More model than actress, Hedren's mannequin-like qualities seem emphasized by heavily sprayed bouffant hairstyles, a sophisticated and strictly coordinated wardrobe and fastidious makeup. Hitchcock coached Hedren closely and constantly, intensely involved in her every move. Her career faltered when she bought out her contract with Hitchcock following <i>Marnie</i>. <b><br /></b><br /><b></b><br /><b></b><br /><b><br /> <i>Francois Truffaut and Alfred Hitchcock discuss "the Hitchcock Blonde"</i></b></div><div style="font-family: Verdana,sans-serif;"><br /></div><div style="font-family: Verdana,sans-serif;"><b><i>Hitchcock</i></b>:You know why I favor sophisticated blondes in my films? We're after the drawing-room type, the real ladies, who become whores once they're in the bedroom.</div><div style="font-family: Verdana,sans-serif;"><b><i>Truffaut</i></b>: What intrigues you is the paradox between the inner fire and the cool surface.</div><div style="font-family: Verdana,sans-serif;"><b><i>Hitchcock</i></b>: Definitely...Do you know why? Because sex should not be advertised...because without the element of <i>surprise</i> the scenes become meaningless. There's no possibility to <i>discover </i>sex. </div><div style="font-family: Verdana,sans-serif; text-align: center;"><br /></div><div style="font-family: Verdana,sans-serif; text-align: center;"><iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/pEnNyXPKAUQ" width="560"></iframe></div><br /><div style="font-family: Verdana,sans-serif;">For more Hitchcock leading ladies, <a href="http://evesreellife.wordpress.com/2011/08/13/more-hitchcock-heroines-blonde-and-not-so-blonde/" style="color: #990000;">Click here</a>...</div>

Alfred Hitchcock Carole Lombard Eva Marie Saint Grace Kelly Joan Barry Kim Novak Madeleine Carroll Roar Foundation HITCHCOCK BLONDE!

It began long ago, the succession of beautiful blonde actresses who combined feminine refinement and sex appeal in a way that director Alfred Hitchcock could not resist depicting onscreen many times. Over the course of his career, Hitchcock honed thi…

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