ALFRED HITCHCOCK FILMOGRAPHY
(chronological)

INTRO / HITCHCOCK: A CAREER

Here are all 53 of Hitchcock's films, 49 of them accompanied by the summaries from the main Guide. The film titles are often hotlinked to full-length (or semi-full-length) reviews. Films not reviewed yet (or films, like REBECCA, currently linked to rather brief reviews) will inevitably be taken on in the future. In the interest of keeping things somewhat complete, I've followed the filmography with a list of Hitchcock's marginal works, including non-feature projects he directed, alternate versions of his films, and early silent films he worked on as an assistant.


THE SILENT PERIOD

1. The Pleasure Garden (1925)
[Not yet seen. Available on bootleg DVDs and occasionally shown on television.]

2. The Mountain Eagle (1926)
[Lost; no copies known to exist.]

3. The Lodger (1926)
Hitchcock's first major film (about the dubious identity of Ivor Novello, who may or may not be Jack the Ripper) and very first suspense thriller bursts with potential; the German influence is obvious in this expressionistic, shadowy mystery. The memories that result are vivid to the point that one can scarcely believe there's no dialogue. (A-)

4. Downhill (1927)
[Not yet seen. Available on DVD overseas.]

5. Easy Virtue (1927)
Provocative and entertaining first half gives way to lazy, redundant second half in story of a divorced woman alienated by her new family when she remarries. Anticipations of REBECCA and THE BIRDS abound in a film that is valuable in its proof of the vitality of Hitchcock's constant Woman Alone theme. Except for a few exciting ingredients, the final half hour is far less impressive than the rest. (B-)

6. The Ring (1927)
Interesting silent Hitchcock has a rather conventional story -- two competing boxers are out for the affection of the same woman -- but early marks of considerable maturity in the visual execution, worlds beyond even the very inventive EASY VIRTUE. Unlike THE LODGER, which regurgitated German expressionism techniques in an exciting new context, THE RING is a thoroughly unique achievement in aesthetic terms, which may be why the director remained so fond of it. He would not hone his storytelling craft for several years, but his technical mastery was already formed. (B)

7. The Farmer's Wife (1928)
Hitchcock's very first indulgence after one big success and one moderate hit, this silent comedy might charm anyone if not for its audacious length of nearly two and a half hours. Given that it would take less than thirty seconds to tell the entire story from start to finish, such overextrapolation is needless and shameful. (C)

8. Champagne (1928)
A society girl is tricked by her father into mending her excessive ways. Emotionally relevant at times but largely silly silent Hitchcock is par for the course for his early features, with some fascinating, fiery visuals but few ideas to back them up. Lighter than EASY VIRTUE, more lively than THE FARMER'S WIFE, less revealing than THE MANXMAN, not nearly on the level of THE LODGER. (B-)

9. The Manxman (1929)
She was going to marry one guy, but he's dead, so now she's with another guy, but uh-oh! Guy #1 shows up, and uh-oh! She's pregnant! Overlong melodrama (Hitchcock's last silent film) has its moments, especially at the end. (B-)

EARLY BRITISH PERIOD

10. Blackmail (1929)
Splendidly evocative debut sound picture for Hitchcock is wildly ahead of its time. Story of raped woman enacting revenge, suffering for it is the foundation for an enormously suspenseful and stirring movie, experimenting and excelling with sound, pacing, and intense character identification. Simply masterful. (A+)

11. Juno and the Paycock (1930)
Okay, you've got sound now, so what's the first thing you do? Abandon cinematic imagination and go film a play! For all Hitchcock's own consternation about this widespread philosophy in 1930-31 throughout the film industry, he wasn't any better at the time, engaging immediately in a rather lifeless (but, for Hitch buffs, fascinating) take on his beloved Sean O'Casey. He disowned the film rather quickly, of course, especially after he received accolades for it despite the lack of real creative work it required (a subsequent filmed play of his, THE SKIN GAME, is a marginal improvement). The performances (especially by Sara Allgood and John Laurie) are excellent and a few visual ideas do survive, but the tale is pointlessly bleak and lacking in filmic value. (C)

12. Murder! (1931)
An innocent woman gets the death penalty for killing her friend. Like Fritz Lang's "M," Hitchcock's only contribution to the "whodunit" genre is incredibly modern for a film from the first year of widespread sound. Creepy atmosphere and great characterizations even with a fairly basic plot. (A-)

13. The Skin Game (1931)
Cranky British people bitch about land, their neighbors. While it's one of the director's least distinctive films, this does have some interest for buffs. It follows in the footsteps of JUNO AND THE PAYCOCK, a play that Hitchcock filmed with a minimum of cinematic contrivance, resulting in a well-acted but bland early talkie. Fortunately, SKIN GAME -- while the story is less subtle and intriguing -- reflects more care on the director's part and is more entertaining. A big part of what makes it worth seeing is the delightful performance of Edmund Gwenn as a money-grubbing bastard. For those who are not fans of Gwenn or Hitchcock, there's probably no reason to see this. (C+)

14. Rich and Strange (1932)
It's quite rightly assumed that for non-obsessive fans, the pre-1934 Hitchcock is basically notable for just three films -- THE LODGER, BLACKMAIL, and MURDER! (with THE RING sliding in for some) -- but RICH & STRANGE, buried in his filmography, is a must-see about a married couple on a disastrous vacation that finds them both straying. It's a film he fought to make, one in a very different mold than the suspense melodramas that made him famous. It's revealing to watch the director involve himself in highly personal, eccentric story prior to the years when he learned how to bury all that insanity in the thrillers. Regardless of career context, this is one of the director's most unique and enduring films, a mostly-forgotten small masterpiece that offers more social commentary and telling humor than almost any other film of its era. Despite its genre, it does have a dizzying story and wonderfully unpredictable final act. (A-)

15. Number Seventeen (1932)
Hitchcock crept along on a shoestring for this brief, completely confusing Old Dark House mystery he made only so the studio would allow him to work on RICH & STRANGE afterward. Shelved for a year, this is Hitchcock's worst film, a muddled series of random, unconnected images that betray the cheapness of the production rather than doing anything to capitalize on it. The only time in his filmography that Hitchcock doesn't seem to know how to handle his material. (D+)

16. Waltzes from Vienna (1933)
[Hitchcock so hated this film -- a musical! -- that rumors have persisted of his deliberately keeping prints of it out of distribution after he became successful. It hasn't been seen in the U.S. in years, and only circulates in a truncated French-dubbed form at the moment.]

THE BRITISH MASTERPIECES

17. The Man Who Knew Too Much (1934)
Fuck THE JAZZ SINGER. This is the film that changed everything forever. After attempting other genres for four years, Hitchcock moved over to Gaumont to choose his own projects and began a run of thrillers that made the '30s a powerhouse decade for the British film industry. His six-film stretch beginning here is one of the great runs in cinematic history. This film quickly displays why Hitchcock has never been matched; his command of all the tools at his disposal is incredibly proficient, most clearly here in the form of his characterization. Leslie Banks and Edna Best, the married couple whose daughter is kidnapped when they accidentally discover plans for an assassination, feel like a real couple; the villain, portrayed with elegant menace by Peter Lorre, is a charming bastard who makes your skin crawl. And the tension is breathless, the climax an explosion of joy. This is pure greatness, and there was plenty more to come. (A)

18. The 39 Steps (1935)
Dangerously close to perfect. Robert Donat runs from police who think he killed the spy in his apartment, ends up handcuffed to cranky woman (Madeleine Carroll). A nailbiter even on repeat viewings; every shot is beautiful, the black & white photography and rapid-fire editing lending this witty but dark thriller a sense of undeniable life. Episodic in the best of ways, every performance grand, with Peggy Ashcroft and John Laurie both unforgettable in small roles. Hitchcock's worldwide breakthrough, still one of his best films, the atmosphere of both joy and terror realized with a skill absent to nearly every other major director. (A+)

19. Secret Agent (1936)
John Gielgud, sent to assassinate a spy, kills the wrong person. More of a popcorn flick than THE 39 STEPS, but almost as good and a worthy followup. Peter Lorre -- as a girl-crazy Mexican killing machine -- is outstanding, and the film's moral questions and lack of answers lend it an air of storytelling innovation, which would be carried over to the stark discomfort of SABOTAGE. The scenes in which Gielgud painfully questions his new profession encapsulate everything missing from the James Bond series. (A)

20. Sabotage (1936) [longer analysis here]
You must see this movie. In pre-WWII London, a terrorist/spy posing as a movie theater owner is worried he's being watched; matters are complicated by his wife and her young brother, ignorant of his actual trade. It's been argued that Hitchcock's work became darker over time, through to the abyss of MARNIE and FRENZY (and possibly VERTIGO), but I'd argue that he was never bleaker than this. A manipulative, disturbing film, as harsh as any Depression-era movie. Excellent cast and phenomenal screenplay in a movie that scars. (A+)

21. Young and Innocent (1937)
Hitchcock's stab at Capra-world, his naive characters escaping the hopeless claustrophobia of SABOTAGE... though the ambience of the old country is darker than ever. Outstanding special effects, streamlined storytelling, and great entertainment in the vein of the director's follow-up, THE LADY VANISHES. (A)

22. The Lady Vanishes (1938)
Sigh. What kind of heaven must this have been crafted in? Francois Truffaut famously told the director about his inability to concentrate on the technical achievements of the film, every attempt having been thwarted, seduced by the winning humor and complex characterization and beautifully crafted story. Beautiful Margaret Lockwood is knocked on the head and finds that her friend Miss Froy has disappeared without a trace, so she enlists the aid of charming jerkass Michael Redgrave. Won't reveal anything about the glorious darkness of the final half-hour except to say that Hitchcock knew damn well the world was on the brink of destruction in 1938. Totally disarming and irresistible. (A+)

23. Jamaica Inn (1939)
Hitchcock's least sophisticated movie, ever, is a wild popcorn flick with Charles Laughton as ruthless kidnapper of a buxom babe who must then defeat smugglers and her uncle is Leslie Banks and shit. In a certain way, it's awesome; there's absolutely no depth to it at all, but it was clearly fun to make and remains fun to watch. Feel free to increase the grade if you're a Hitchcock fan. (B-)

THE SELZNICK PERIOD

24. Rebecca (1940)
A woman (the brilliant Joan Fontaine) lives in the shadow of her husband's deceased wife, Rebecca. Gorgeous, atmospheric, intoxicating and terrifying Du Maurier adaptation is a tour de force for Hitchcock and producer David O. Selznick. You cannot help but live in Joan Fontaine's world for the duration of this nightmare put on film. Fontaine is perfect for the subdued and intensely sympathetic role, while Laurence Olivier and Judith Anderson are frightening, and equally great. Comic highlight: George Sanders barging into the car stealing chicken. (A+)

25. Foreign Correspondent (1940)
Completely dazzling entertainment in one of the most thrilling Hollywood films ever made, certain to knock you out and about. So much to say: brilliantly suave lead performance by Joel McCrea, badass George Sanders as a thrill-seeking spy named ffolliott, and still-incredible setpieces (umbrella murder, windmills, plane crash). Only note of contrivance is the romantic subplot, only real debit is the quickly-added propaganda ending urging U.S. entrance into the war. It didn't work. Movie is undeniable. (A)

26. Mr. and Mrs. Smith (1941)
Screwball film about a couple that finds out they aren't legally married. (Didn't this happen on The Dick Van Dyke Show once?) All right, BRINGING UP BABY it ain't, but Hitchcock's only straight American comedy brings one great comic situation after another. It may not add up to anything life-changing, but the setpieces are wonderful. The only problem is that Lombard and Montgomery have great chemistry but we barely get to see it! (B)

27. Suspicion (1941)
Joan Fontaine begins to suspect that her husband, Cary Grant, is a killer. A suffocating psychological thriller, nearly as unforgiving and oppressive as SABOTAGE and REBECCA. Fontaine, as usual, is brilliant, and Grant is solid as a rock. The current imposed ending is interesting in its own way (on repeated viewings, at least), but the closure Hitchcock had in mind would have been even better. A surprisingly slick early U.S. Hitchcock, considering it's not a Selznick production. (A-)

28. Saboteur (1942)
A man goes on the run after getting the blame for a deadly act of sabotage. It's sort of the diluted 39 STEPS, with shades of war propaganda, but big cheers for the sense of journey, the very American populism, and the use of WWII as a background. Great, weird characters, a fine script, and many wonderful eccentricities. (A-)

29. Shadow of a Doubt (1943)
A girl is suspicious of her shady uncle, played with menace and charm by the great Joseph Cotten, who is actually the Merry Widow Murderer. Stunning deconstruction of Americana small-town peace and family loyality is so perfectly executed it doesn't seem possible that it was made under great stress during the height of WWII, so horrifying it doesn't seem that it could be from so long ago, and so American it's shocking that it comes from a British director. A homey, gothic, subtle masterpiece that haunts you permanently and never takes the easy way out. (A+)

30. Lifeboat (1944)
A melting pot of wartime folks struggle to survive on a... yeah. From John Steinbeck's concept, this is the first of Hitchcock's great "experiments." LIFEBOAT tackles heavy-handed topics and severely limits its dramatic scope, but manages to be as gripping and entertaining as the director's more conventional films. In these people Hitchcock creates an image of the world that's alternately bleak and hopeful, and in the end it's as valid today as in 1944. (A)

31. Spellbound (1945)
Gregory Peck is the new head of the psychological ward, but he's actually not. Only Ingrid can help. This is the one with the Salvador Dali dream sequence, and that's only part of what makes it one of Hitchcock's most ambitious films. It has aged quite well but has its share of problems. Peck is wrong for the role; Bergman is perfect (decked out in hot spectacles) but her character is exaggerated and poorly written until the story gets going, and it takes its time. About half an hour in, though, this flick really gets rolling, and except for a few pointless setpieces that stop the action, it's a satisfying film. The Dali bit is wickedly fun, but it -- and the rest of the movie -- is marred by the stupefyingly awful Oscar-winning music score, easily the worst in any of the director's films. Quite a curious hybrid of Hitchcock and Selznick sensibilities, not nearly as seamless as REBECCA. (A-)

32. Notorious (1946)
Cary convinces Ingrid to be a spy, then she falls in love with him... but now she has to screw evil German dude Claude Rains as part of her job. Enchanting, haunting film noir, this the peak of Hitchcock's first three decades as a director; it engrosses and pacifies with the greatest of ease and is the model for how every other thriller that has been made should work. You know how in some of your favorite movies there are scenes you look forward to while you watch? In this one, EVERY scene is like that. Seriously. (A+)

THE POSTWAR/TRANSATLANTIC PERIOD

33. The Paradine Case (1947)
The hems and haws of Gregory Peck as a lawyer in a good marriage but smitten with his latest client, rich and apathetic Mrs. Paradine, who apparently offed her husband. Hitchcock in strangely pessimistic, aimless mode, his own wild ambitions for the project offset by intrusions on the part of David O. Selznick (this, significantly, was the last film that Hitchcock did not produce himself). In the truncated form in which it now exists, the film is interesting but no gem. (B-)

34. Rope (1948)
A couple of ambitious homosexual psychopaths have slaughtered a man; they hide him in a chest and then throw a party, all to impress that corrupt nihilist Jimmy Stewart. And it's in one long shot. (Actually, there are several cuts, but they are disguised.) Hitchcock's wildest experiment is quite successful. His camera remains as riveting in this guise as it does with the editing room as a tool. Extremely suspenseful, partially as a result of the filming technique. Stewart is unforgettable in a highly atypical role. (A)

35. Under Capricorn (1949)
Ingrid Bergman has a cross to bear in 1800s Australia. Hitchcock's only American costume drama is not the uncharacteristic Hitchcock some critics have suggested; rather, it's a fascinating amalgam of ROPE, NOTORIOUS, REBECCA, and MARNIE. It's not quite a thriller but is nevertheless fully absorbing and quite fascinating, with the performances all exquisite, and Hume Cronyn's script appropriately understated. Watch for some of the most impressive long takes in movie history, but don't forget that there's a lot more to this than the technical wizardry. (A-)

36. Stage Fright (1950)
A drama student runs around investigating a murder in Hitchcock's first movie made in London since 1939. Bad acting, bad dialogue, a bad plot. The charm of the production can't save it. This is Hitchcock's worst U.S. film; he seems completely distracted for the first time since the pre-1934 period. There is a rather lovely musical sequence, however. (C-)

THE FIFTIES

37. Strangers on a Train (1951)
A nutcase meets a tennis player on a train, tries to get him involved in "exchange murder" scheme. Incredibly layered film with unforgettable performances all around, more character driven than usual and twice as disturbing as PSYCHO. Robert Walker, stuck previously in typecast "best-pal" roles, gives one of the best performances ever seen from any actor. The stage is here set for Hitchcock's peak period; this film contains his best action sequence, the stunning merry-go-round climax, and what might be the best scene he ever shot, the horrifying and unabashedly erotic amusement park murder toward the beginning. All around, one of the greatest and most chilling movies made by Hitchcock or anyone else. (A+)

38. I Confess (1953)
One of Hitchcock's most relentlessly bleak films, I CONFESS concerns Montgomery Clift as a Catholic priest to whom a murder is confessed. When he is himself framed for the murder, he's put in an unenviable position of choice between his life and his priesthood. Throw in Anne Baxter (brilliant and nuanced) as a long-lost love interest and you have a guaranteed winner. But while this is a technical masterpiece, it is dark to the point of oppression, and one of the most difficult Hitchcock films to watch (even THE WRONG MAN has more of a sense of fun, and the many films in his oeuvre which are even darker, such as SABOTAGE and FRENZY, all balance the light and terror with greater ease) perhaps because it is the only one that is basically humorless. Nevertheless, quite startling. (A-)

39. Dial M for Murder (1954)
Hitchcock tackles a stage hit, undoubtedly because of the technical problems it presented. The film is not as good as ROPE but features many excellent sequences and a fine performance by Grace Kelly. Story is of a husband plotting to kill his adulteress wife, going into panic when she is too sprightly for him. The only real debit is the lack of charisma from either of the actors playing Kelly's lovers in the film. Robert Cummings is miscast, Ray Milland is Ray Milland. But the movie, originally filmed in 3D, is completely exciting. (A-)

40. Rear Window (1954)
While Grace Kelly does everything she can to try and get into Jimmy Stewart's pants, he glares out the window and starts to see things happening. Searing entertainment, this wry and scary comment on the voyeurism that constitues the meaning of the medium of film itself is filled with crushing suspense and wild eroticism. It is one of the few absolutely perfect films made to date, and a masterpiece by every conceivable standard. You should probably see a doctor if this doesn't speak to you. (A+)

41. To Catch a Thief (1955)
No plot, just an excuse for French Riviera photography and lots of Cary Grant and Grace Kelly looking great. Some great scenes, but this is slick and inconsequential; with no sense of danger or any real moral weight, it's hardly an actual thriller. A vacation for the director, to say the least. (B)

42. The Trouble with Harry (1955)
In a small town, a corpse belonging to a man named Harry is a major nuisance. Whoever gave this its reputation as a clunker had no sense of humor. It's ruthlessly weird and is most likely Hitchcock's funniest film, the laughs sprinkled liberally throughout an excellent script by John Michael Hayes. Exceptional performances, too. (A)

43. The Man Who Knew Too Much (1956)
It may be a bit unfair to try and put this side by side with the original, but Hitchcock's one and only remake undeniably falls a bit short of the excitement in the older film. Still, it's a great ride, with both Jimmy Stewart and Doris Day delivering fine performances. Many great scenes exhibit Hitchcock at his tirelessly thrilling best. But the characters are not as interesting, nor are the situations as poignant. On its own, however, it's a top-quality slick thriller done with the kind of panache no one else could expend. (A-)

44. The Wrong Man (1957)
A treasure. Henry Fonda is a musician whose life is virtually ruined after he's falsely accused of robbery, in this "semi-documentary" film (sort of a celluloid variant on Truman Capote's "nonfiction novel") based with frightening precision on a true story. Fonda and Vera Miles are incredible, and aside from a few tacked-on scenes, a pointless introduction, and an abrupt ending, this is a film of stirring realism... and it's very unsettling. Unique, in the Hitchcock vein and otherwise. (A)

45. Vertigo (1958)
James Stewart is an ex-cop whose fear of heights prevented him from being able to save an officer's life; the condition haunts him and has grave consequences with an old friend sends him to watch over his suicidal wife. It gets even better. Dark and maddening, this must stand with REAR WINDOW as Hitchcock's absolute masterpiece. It's twice as disturbing with the familiar Stewart in the lead as the man who is plagued by an erotic fascination. One of the most absorbing films ever made, and worth seeing again and again. (A+)

46. North by Northwest (1959)
Cary Grant is mistaken for a spy, then an assassin, in relentlessly nightmarish comedy of errors. In some ways virtually a remake of THE 39 STEPS, but a riveting one that launched a thousand Bonds (there've been a thousand, right?). One of Hitchcock's greatest, most epic films, vast in every way. In the middle of a trilogy of rejections of "the Hitchcock aesthetic" with VERTIGO and PSYCHO, this is in a sense a rejection of Hollywood values by way of complete indulgence in them. "The Hitchcock picture to end all Hitchcock pictures," Ernest Lehman said, and it is. It was. (A+)

THE REVOLT

47. Psycho (1960) [essay about shower scene]
They don't make movies more exciting than this one, throwing us fully into a quick-paced world of sinister people, inviting murderers, and that certain sinking feeling. A masterpiece not just in terms of its visual finesse and low-budget realism -- it virtually began the modern horror genre -- but particularly in regard to its dialogue; Joseph Stefano's script is magnificent. Somewhat uncharacteristic of Hitchcock, it's nonetheless probably his most famous movie. (A+)

48. The Birds (1963)
Hitchcock's claustrophobic, visceral, bloody descent into supernatural horror is the stuff of genuine nightmares, and one of the few films in its genre that is truly cinematic. Evan Hunter's exceptional script escapes some ill-considered dialogue early on to become enduring, fascinating stuff. The movie is beautiful, relevant, unforgiving. Tippi Hedren and Rod Taylor are upstaged easily by supporting players Jessica Tandy and Suzanne Pleshette. The film contains perhaps the defining moment of Hitchcock's career -- a direct confrontation with the viewers: "I think you're the cause of all this." And we are. (A)

49. Marnie (1964)
Sean Connery tries to creep inside the mind of compulsive crook Tippi Hedren, who lives in the shadow of her vibrant and unsteady mother, a woman who no longer seems to care for her. Hedren is much, much better than in THE BIRDS in this dreamlike wonder, a "sex mystery" that unfortunately flopped at the time due to its lack of clear-cut genre. The script by Jay Presson Allen is great (but unapologetically pessimistic), and the movie is visually gorgeous. The director's fans will delight in investigating the subtext here, featuring everything from lesbianism to incest to pedophilia. In its way, a masterpiece. (A)

50. Torn Curtain (1966)
Paul Newman is a spy trying to get a formula, with his fiancée Julie Andrews following him around. Fluffy and inordinately forgettable, not to mention woefully miscast, but give it credit for being watchable and for Hitchcock's intriguing action setpieces. This is the only one of Hitchcock's last six films that somewhat deserves its poor reputation. (C)

51. Topaz (1969)
French spies need to find stuff out about Cuba. If you can ignore one annoying character, this is a brilliant film until the last fifteen minutes. Hitchcok simply didn't know to end his story. But aside from that, this is a haunting, absorbing, highly underrated thriller worthy of the director's name. (B+)

52. Frenzy (1972)
Hitchcock's penultimate film finds him in peak form, with one of his most relentless and disturbing wrong-man tales. This story of a rapist framing a friend features the director taking full advantage of the new opportunities presented to him by the 1968 upheaval of MPAA ratings, and as such it's necessarily explicit, meaning that it is not for everyone, particularly with its horrific rape scene, bawdy imagery, and sensationally black humor. It's simultaneously Hitchcock's darkest film and his funniest, and that's a large achievement for a 73 year-old man on both counts. If you're willing to take the trip, you'll be in awe. (A)

53. Family Plot (1976)
Wondrous thriller-comedy about two crooked couples (one a phony psychic and a deadbeat, the other a pair of jewel thieves) whose stories converge and fold onto one another in delightful, engrossing fashion. This was Hitchcock's last film, and it might deserve a higher grade but, being an obsessive Hitchcock fan, I decided to err on the side of caution. (B+)


OTHER WORKS

HITCHCOCK AS WRITER/PRODUCER:
Woman to Woman (1923)
The White Shadow (1923)
The Prude's Fall (1924)
The Passionate Adventure (1924)
Always Tell Your Wife (1924) [codirector]
The Blackguard (1925)
Elstree Calling (1930)
Lord Camber's Ladies (1932)

UNFINISHED HITCHCOCK:
Number Thirteen (1922)
[see this page for a definitive list of aborted projects; the most famous of these are MARY ROSE, THE SHORT NIGHT, and KALEIDOSCOPE; not included are TITANIC and THE WRECK OF THE MARY DEARE, films Hitchcock was contracted to direct at one time that were thrown aside in favor of REBECCA and NORTH BY NORTHWEST, respectively]

PERIPHERAL HITCHCOCK:
Blackmail (1929) [silent version]
Mary (1931) [German-language version of MURDER!]
Memory of the Camps (1945/1985) [documentary]

HITCHCOCK SHORT FILMS: (propaganda made for the Free French)
Bon Voyage (1944)
Aventure Malagache (1944)

HITCHCOCK-DIRECTED TV EPISODES:
ALFRED HITCHCOCK PRESENTS:
Revenge (1955) [A-]
Breakdown (1955) [B+]
The Case of Mr. Pelham (1955) [B]
Back for Christmas (1955) [A]
Wet Saturday (1956)
Mr. Blanchard's Secret (1956)
One More Mile to Go (1956)
The Perfect Crime (1957)
Lamb to the Slaughter (1957) [A+]
A Dip in the Pool (1957)
Poison (1958)
Banquo's Chair (1958)
Arthur (1959)
The Crystal Trench (1959)
Mrs. Bixby and the Colonel's Coat (1960)
The Horse Player (1960)
Bang, You're Dead! (1961) [A+] (this is the episode that sparked my initial interest in Hitchcock, around fifteen years ago)
OTHER SERIES:
Incident at a Corner (Ford Startime Theater)
Four O'Clock (Suspicion)
I Saw the Whole Thing (The Alfred Hitchcock Hour)