Whenever one delves into the background of someone famous, one runs the risk of finding out things that one might not wish to know. The question becomes, does one want to know the potentially tarnished portions of the individual’s past or stick with the unsullied image? Obviously, if you are going to stick with the unsullied version, you probably do not want to read a biography which has the phrase “dark side” in it.
The Dark Side of Genius: The Art of Alfred Hitchcock is a fascinating exploration of the master director. The author does a fine job of walking the line between writing a biography of the man and exploring his long, amazing career. The films and their major motifs are put into the context of what was happening in Hitch’s life. A healthy dose of armchair psychology accompanies this examination, providing a very full, if at times incredibly sad, picture of the artist.
The result is a study of a man who was a brilliant director and producer, someone who was able to manipulate audiences using a variety of images and visual (as well as audio) techniques. We also see Hitchcock as someone who spent a good deal of his life manipulating people off set as well, someone who spent a major portion of his time searching for or trying to create an idealized feminine reality despite his long marriage.
The Dark Side of Genius gives us a glance at the many psychological issues which Hitchcock dealt with. The result, like one of Hitch’s best films, both repels the readers with its unpleasant imagery while drawing them in, making them feel and even sympathize with the main character.
Donald Spoto does an excellent job of laying out the life, history, psychology, and career of Alfred Hitchcock. He hold nothing back, which may be difficult for some readers. On a personal note, I found some of the early material fairly mind blowing. It never crossed my mind that Hitchcock started his career as a young man when the cinema was first forming, that he might have actually worked in Germany as some of the great masterpieces of early film were being created. It did not dawn on my that he was a contemporary of H. G. Welles and others.
A note on the audiobook. Unfortunately, the audio transfer leaves something to be desired. The audio version is riddled with unnecessary pauses which can only be the turning of script pages. They appear with alarming frequency throughout the biography. I found this very distracting. There are also a few gaps where there is missing narration. Granted, it is only a few words, at most a sentence, but still a problem. Towards the end of the audiobook there is a mention of which tape and take they are on. All of these problems should have been addressed during the editing process.