Alfred Hitchcock's 20 Best Films Ranked

With a career that spanned over 50 years, Alfred Hitchcock is an undisputed master of cinema. With around 55 feature films on his resume, it is extremely hard to narrow them down to a list of 20 — and that's before you even get to ranking them. 

Hitchcock charted the political turmoil of the 20th century as it was unfolding; with his pre-war espionage thrillers "The 39 Steps" (1935) and "Sabotage" (1936), his examinations of the effects of World War II on the human condition in "Lifeboat" (1944) and "Notorious" (1946), and his takes on the Cold War in "Torn Curtain" (1966) and "Topaz" (1969). He worked with some of the most iconic stars of the Golden Age of Hollywood time and again, including James Stewart, Cary Grant, Grace Kelly, and Ingrid Bergman. 

While Hitch is best known for horror and thrillers, there is a strong core of romance in much of his work, although we all know how twisted his love stories could get. So, let's start this tour through 20 of Hitchcock's best films, which span the '20s through the '70s, and which hopefully provide a good overview of what makes Hitchcock the Master of Suspense.

This espionage thriller, set in Europe on the brink of World War II, is notable for many reasons, not least of which is that it contains the best character name in any Hitchcock film: Scott ffolliott (played by the always magnificent George Sanders). Joel McCrea stars as John Jones, the titular correspondent, who is sent from the U.S. to Europe in 1939 to report on the escalating tensions between nations. 

The first half of the film is better than the second, with some classic Hitchcock set pieces, including an assassination scene that unfolds amongst a sea of umbrellas and the assassination attempt on the top of Westminster Cathedral. Like all the best Hitchcock films, there is a romantic undercurrent, as Jones falls immediately in love with Carol Fisher (Laraine Day) and proposes to her during a dramatic storm at sea.

Once again, it's a marvel that a film made in 1940 could have so much to say about American neutrality and treasonous spies during a war that had barely begun. It's an ambitious film, too. It's set across several countries, features diverse locations like an isolated windmill and a flying boat, and is dynamically shot in a style similar to Hitchcock's other spy thrillers, including "North by Northwest." This is a lesser-known Hitchcock film that is well worth seeking out.

"Rear Window" and "Rope" famously take place in single, confined spaces, but many people don't realize that Hitchcock had already pushed this idea to an extreme in "Lifeboat," a 1944 World War II film. While the titular boat's Allied crew, which includes war photographer Connie Porter (Tallulah Bankhead), tries to survive by rationing their food and water, most of the film's tension is caused by the presence of a German U-boat captain who the passengers rescue from drowning. The Brits and Americans argue about how much they can trust him, and wonder if they should push the man back overboard.

"Lifeboat" is filled with devastatingly heart-breaking characters, including a suicidal woman whose baby has died, and a sweet-hearted man played by William Bendix who must have his leg amputated. Hume Cronyn, who also appeared in "Shadow of a Doubt" plays another member of the lifeboat's crew. The acting is impressively understated across the board, and has a real emotional impact.

The ending goes a little over-the-top and veers into histrionics, but up until this point, "Lifeboat" is a gripping World War II drama that is a great addition to the niche genre of lost-at-sea movies. Bankhead plays a feisty lady who doesn't lose her moxie despite the unusual circumstances. This film is proof that when Hitchcock steps back from intricately-plotted, high-concept fare, he can still make an extremely compelling film.

"Frenzy" saw Hitchcock return to his native London for the first time since 1950's "Stage Fright" (apart from the climactic scenes of "The Man Who Knew Too Much" in 1956). It is interesting to see Hitch collide with '70s cinema, even though it was destined to only happen twice. "Frenzy" begins with a body washing up in the grimy Thames and continues its sleazy, gritty '70s feel throughout. Comparing the graphic nude strangulation scene in this to something like the shower scene in "Psycho" (which uses the power of suggestion), we can see that Hitchcock did evolve with the times. Whether that's a good or bad thing is for you to decide.

"Frenzy" bears a striking similarity to "The Lodger" from 1927; in both, an innocent man is mistaken for a serial killer, and many of Hitchcock's favorite themes — blurred identities, innocent men on the run — appear in the two films. "Frenzy" features a host of British character actors, including Anna Massey, Billie Whitelaw, Jean Marsh, Bernard Cribbins, and Clive Swift. Hitchcock's signature humor is still present in "Frenzy," most notably with the terrible cooking that the detective must endure at the hands of his aspiring cordon bleu wife (also a running joke in the '70s sitcom "Butterflies"). "Frenzy" is definitely worth watching, if only to see how it bookends Hitchcock's career and to appreciate its links with his work in the '20s.

"Blackmail" is an extremely important film, being the first British "talkie." It started life as a silent film, then the decision was made to adapt it for sound after filming had begun; both silent and sound versions were released. Watching it now, the first scenes are silent, and then you can hear it transform into a talkie before your very ears (at around the 8 minute mark), which is a fascinating glimpse into the evolution of cinema. 

If you haven't seen many pre-code films, you may be surprised to learn that "Blackmail" revolves around a murder in self-defense after an attempted rape. It also features a thrilling chase on the British Museum roof and quite a modern relationship between the central characters — Frank, a policeman, and Alice, the "guilty" party. Frank, Alice, and the blackmailer himself, Tracy, are all morally complex characters, with Frank covering up for his girlfriend and Tracy being mistaken for the murderer. If you haven't seen much '20s cinema, you may find that the characters and plots are more intricate than you expect and, in the case of "Blackmail," that Hitchcock's favorite themes were present from the start.

Alfred Hitchcock made three films in quick succession with the favorite of his muses — Grace Kelly — with the third and final being "To Catch a Thief." Kelly was the least icy of Hitchcock's blondes, and her roles involved a warmth, wit, and a bright and breezy nature not afforded to Novak, Hedren, or Leigh. 

"To Catch a Thief" has everything you could possibly want from a '50s film — two beautiful people wearing beautiful costumes in a beautiful setting ... and a masquerade ball. Without the moral and psychological complexity of much of Hitchcock's work, "To Catch a Thief" may be seen as minor or non-essential to some. If Cary Grant as a literal cat burglar and Grace Kelly in iconic Edith Head gowns swanning around the French Riviera is something you can turn down, you're a stronger person than I. 

Although the cinematography may not be as striking as in some of Hitchcock's other films, the use of green light in the hotel room and rooftops scenes is gorgeous. Ultimately, it's the playful banter between Kelly and Grant that is the real selling point here; this is easily Hitch's most sumptuous and glamorous film.

"The 39 Steps" features many classic Hitchcock elements: it has a "MacGuffin" that sparks the plot, a train journey, an innocent man on the run, and a romantic subplot that contains rom-com tropes that are still in use today. Robert Donat plays the everyman who becomes unwillingly embroiled with spies, espionage, and murder, and who spends much of the film one step ahead of the law, desperate to clear his name. 

Unlike the similarly-plotted "North by Northwest", where the most famous sequences are on board an Amtrak train, in a dusty midwestern cornfield, and at the famous US landmark Mount Rushmore, "The 39 Steps" has the Flying Scotsman train, the Forth Bridge, the Scottish highlands, and a London music hall as settings. While Madeleine Carroll's Pamela isn't the strongest of Hitchcock's blondes by any stretch, she does get to have a classic "oh no we have to pretend we're married to stay at the inn and there's only one bed" scene. And the Mr. Memory pay-off at the end is one of Hitch's most satisfying endings.

"The Lodger: A Story of the London Fog" is an early film that establishes many Hitchcock tropes. This was the first of two films from 1927 that starred Ivor Novello (better known as a composer than actor), who gets a fantastically dramatic entrance that makes great use of his eyes. 

Given what we now know about Hitchcock, the plot of "The Lodger" seems almost unbelievable in hindsight. A serial killer known as the Avenger (yes, really) in London is targeting blonde women, leading to scenes where actresses and models are seen donning dark wigs before going home for the evening, for fear that they will be the next victim. Ivor Novello takes up lodging in a house where Daisy (June Bunting) lives. The Lodger and Daisy start a romance, and he comes under suspicion for the murders, with Hitchcock presenting a lot of red herrings to the other characters and the audience that he is, in fact, the killer. The film climaxes with the Lodger being pursued by a lynch mob, but his innocence is eventually revealed. 

Novello gives a good performance in both this and his other Hitchcock film, the very different "Downhill," aided by his strong, straight nose and large, dark eyes. The cinematography is also impressive, with the most iconic shot being a crucifix-shaped shadow falling across Novello's face. An essential work, particularly when coupled with "Frenzy," to get a full picture of Hitchcock from start to finish.

"The Lady Vanishes" fits into the same comforting space as "Blithe Spirit" (1945) and the various incarnations of Miss Marple: that of competent older ladies (and in this case, a younger one) who are underestimated but ultimately prove their brilliance. There's definitely a dash of "Murder on the Orient Express" thrown in for good measure, too, with an ensemble cast of British eccentrics solving a mystery on a train somewhere in Europe. 

With elements of slapstick and farce, while also featuring the Hitchcockian theme of gaslighting, "The Lady Vanishes" is one of Hitch's most fun films. Margaret Lockwood and Michael Redgrave even get to have a romance amongst all of the shenanigans. The MacGuffin being a secret code hidden in a song is very similar to the one from "The 39 Steps," but we won't hold that against Hitchcock. Some may be surprised at how highly I value "The Lady Vanishes," and there is some nostalgia involved, but it has a brilliantly intricate plot and is generally a delight!

"North by Northwest" is a classic Hitchcock espionage thriller that features an innocent man on the run through both famous landmarks (the UN, Mount Rushmore) and more prosaic locales — most memorably, a cornfield in the middle of nowhere. The crop-duster sequence is the only potential rival to the shower scene in "Psycho" for the most iconic moment in all of Hitchcock's work, with Grant's Thornhill in utter disbelief at the lengths these spies will go to in order to get rid of him. Like the shower scene, it's dialogue-free and relies on the facial expressions of Grant, in this case, to really sell the scene. It's also another fantastic costuming moment in a Hitch film, with Grant's impeccable gray suit thoroughly out of place in the dust bowl, completely broken down and disheveled by the end.

"North by Northwest" was one of many successful Hitchcock collaborations with composer Bernard Hermann (also behind the "Psycho" shower scene) and title designer Saul Bass. The Mount Rushmore ending is truly audacious, and while it's strange to think of Hitchcock as an action director, he comes dangerously close to being one in "North by Northwest." Although it is a Sophie's Choice to decide between Hitch-Jimmy and Hitch-Cary, I would ultimately go with Grant, as Hitchcock brings out the best in him.

My number one and number two Hitchcock films are both adaptations of Daphne Du Maurier stories, so you're probably gathering where my tastes lie. Gothic fiction is one of my greatest loves, so combining that with Hitchcock is always going to result in a perfect film — and that is what "Rebecca" is. Mrs. Danvers (Judith Anderson) should be considered alongside Norman Bates as the iconic villain she truly is. Joan Fontaine is a fantastic second Mrs. de Winter, desperately trying to fit in and do the right thing at Manderley, the grand home her much older husband (Laurence Olivier) brings her to.

Class is a big factor in the plot of "Rebecca" and is a theme that Hitchcock would surely have explored more if he'd continued to work in the UK — the irony being, of course, that "Rebecca" was actually his first Hollywood film. This film also features one of my favorite actors (with a voice like treacle), George Sanders, as Rebecca's lover Jack Favell. 

"Rebecca" is proof that not all ghost stories need a ghost. If the living believe enough in a dead person's power, their presence will continue to be felt and affect the lives of everyone in their vicinity. Hitchcock as an adapter is not discussed enough, but many of his films were based on books and plays, even if he always managed to put his own stamp on them. The book is beautifully written, but this is one of the best book adaptations of all time. "Rebecca" is a masterpiece.