希区柯克作为一个电影艺术大师的真正价值显然并未及时为批评界所发现或承认,对此,这位在电影创作中一向持有雍容气度的不列颠绅士,竟一度显得忿忿不平,甚至有点急不可耐地向人们表白自己的苦心:“我拍的许多影片很不一样……除了悬念之外,没有一部影片和另一部在形式上是相同的。”不幸的是他的表白只能使自己陷入更为不利的境地,因为他对自己影片的评估是不甚准确的,事实上他的电影形式上相同的并不少,偶尔看过他几部代表作的人都能轻而易举地列出其形式“套路”;交叉谋杀与间接谋杀(能说《列车上的陌生人》、《绳索》和《电话谋杀案》在构思形式上没有相同之点吗?),双重人格与精神分析(《精神病患者》与《深闺疑云》有着极为相近的事件构成形式)等等;同时他承认了自己创作中悬念的普遍性,也即进一步认同了人们对他作为悬念巨匠的基本估价,而人们恰恰是在把他尊奉为悬念巨匠的过程中忽略了他作为电影艺术大师的价值和品 It is clear that Hitchcock’s true value as a master of film art was apparently not discovered or acknowledged by critics in time, and this gentleman who had always held grace in filmmaking was at one point indignant and sometimes even somewhat Impatient to show people their painstaking: “Many of the films I film are not the same ... except for the suspense, no film is formally identical with the other.” Unfortunately, his confession Can put himself in a more unfavorable situation, because he is not very accurate assessment of their own films, in fact, his film is the same in many forms, and occasionally read several of his masterpieces can easily be listed Cross forms of murder and indirect murder (can we say that there is no similarity in concept form between “strangers on the train,” “ropes,” and “telephone murder cases”?), Double personality and psychoanalysis “Mentally ill” and “purdah suspicion” have extremely similar event forms), etc. At the same time, he acknowledged the universality of suspense in his own creations, that is, he further recognized that people regard him as a suspense Carpenter’s fundamental valuation, and people are just in him enshrined as the master of suspense ignored during his value as a product of Motion Picture Arts and Master