Frankie Fane is an American who has been in Rome for about six weeks and is starting to get bored. He hasn't picked up much of the language, and has visited most of the tourist sites in Rome itself. A fellow American suggests that he rent a car and visit some old ruins just a short drive from the city. When he gets there he finds the villagers unfriendly, and a large group of teenagers that constantly follow him around. He quickly realizes that he may be in trouble, but it may also be the case that he gets what he deserves.

Alfred Hitchcock is known as a giant of movie making, a facetious master of suspense, obsessed with blond heroines in peril, with the reputation of being tyrannical towards his actors. But who knows the real Hitchcock? During his last public appearance, "Hitch" paid tribute to the wife, mother, co-writer, editor and partner of a lifetime that was Alma Reville Hitchcock. The two Hitchcock were inseparable, engineering the unquestionable masterpieces together. Their genuine collaboration never stopped from the day they met until the end of their lives. It's in light of this fusional relationship that this film will revisit and shed fresh light on the legend.

Focussing on his early career, this profile looks at director Alfred Hitchcock’s breakthrough in silent films, acclaimed thrillers such as “The 39 Steps” (1935) and the influences which prompted his departure for a new life in America in 1939. Featuring Hugh Stewart, editor of “The Man Who Knew Too Much” (1934).

A documentary analyzing the social, political and cultural climate of Hollywood in the mid-1960s.

Mr. Laffler invites Mr. Costain to join him for dinner at a private club that he describes as a very special experience. To his disappointment, Laffler is informed that the house specialty, a lamb dish, is not being served. They continue to visit the club and one evening, the famous dish is served. It also happens that a long-time member has resigned. What, if anything, do the two events have in common?

Alexander Gifford has to be the cheapest skinflint on the planet. He chides his wife for leaving a light turned on and he reads his neighbors newspaper rather than buy his own. When his wife discovers he has bank accounts totaling $33,000 she starts spending money on herself and he decides he has to do something about it. He tries to hire a hit man, but recoils when he's told that the fee would be $500. The hit man refers him to a chemist to buy poison, but again recoils at the cost. He decides to find a low-cost way to proceed, but even when he's successful is taken aback when the doctor tells him that the funeral will likely cost at least $160. Even with that, he finds a way to avoid the costs.

D.A. Warren Selvey learns that he's on bad political ground because of his low conviction rate. He decides to vigorously prosecute a man named Rodman. He wins the murder case and Rodman is sentenced to die. After the sentence, however, Selvey meets a man named Barnes who claims to have committed the crimes. Selvey is now being considered a candidate for Congress. Fearing the repercussions of having convicted an innocent man, Selvey frightens Barnes into silence. The night Rodman is to be executed, Barnes shows up and urges Selvey to call the governor. Selvey refuses and in an ensuing struggle Barnes is killed. Selvey's political ambitions are ruined. Days later Selvey learns that Barnes was a fake. He was a crazy retired judge who would study the evidence of a case and then confess to the crime.

A fascinating look at the life and work of some of Hollywood's most iconic filmmakers.

Directed by Mark Cousins, My Name is Alfred Hitchcock re-examines the vast filmography and legacy of one of the 20th century’s greatest filmmakers, Alfred Hitchcock, through a new lens: through the auteur’s own voice.

Katherine Oldham sees a homeless man in the park, feeding the pigeons. He looks perfect. Her brother, Fitzhugh, his mind either on a bird or his butterfly collection, absent-mindedly agrees. She brings the old man inside and feeds him some stew. The man dimly suspects something is wrong when the eccentric brother blurts out something about killing and substitutes and insurance. But his benefactors seem so nice. And they even give him a new suit of clothes--Fitzhugh's clothes. And they let him spend the night. He may have spent his last night on a park bench--or anywhere else.

Seymour Johnston is a vain, silly man, but that's not how he sees himself. Nor does he see himself the way his late father did--as a man who couldn't be trusted with a large inheritance, a man who needed to make his own way in the world. That's why Seymour's father left all his money to his sister, Seymour's Aunt Muriel. Of course, once she is dead, the money will all go to him. But the middle-aged Aunt Muriel does not seem destined to die any time soon. In the meantime, how will Seymour keep his antique shop going? More important, how will he be able to enjoy any of the finer things in life? When Seymour, reduced to eating in a diner, finds a wallet someone had dropped, the answer comes to him immediately.

Georgie Minnelli confronts Lucky Moore, his old childhood enemy, for interfering in his pinball machine racket. Georgie waves a gun in Lucky's face, but Lucky isn't intimidated. A cop named Larkin has just been made lieutenant, and Larkin vowed long ago that if either of these hated rivals turns up dead, the other had better have a good alibi. Georgie couldn't possibly get away with it. But Lucky has pushed Georgie too far and his old enemy shoots him dead anyway. Now the young gangster is desperate for an alibi. But getting one won't be easy.

Gil Dalliford has an unnaturally close relationship to his father, whom he calls by his first name, Jonathan. "Every important moment of my life is a moment I had with Jonathan," he says. But after eighteen years of being a widower, Jonathan finds he's ready to settle down with a new wife. Before Gil even meets her, he declares his everlasting hatred for her. And that hatred only intensifies after his father dies. Of a heart attack, the doctor said. But Gil suspects foul play.

The cab driver taking Mr. Vinton to his destination is surprised to see he has business with Miss Julia Pickering and not her sister, Miss Cordelia. Miss Cordelia, aka Mrs. Welles, has her sister under her thumb. He's even more surprised to find that Miss Julia has written a book that Mr. Vinton wants to publish. When Mr. Vinton arrives at the elderly sisters' magnolia-scented Louisiana mansion, he's the one surprised, finding that the house perfectly matches the one Miss Julia had described in her story. As a guest in the house, he finds old furniture carved with lion's heads, brass cherubs, a stone bench in a rose garden -- all things from the book. Mr. Vinton's mind becomes troubled as he wonders how much the rest of Miss Julia's murder mystery might be true.

The kooky Babs Fenton's imagination is a great asset when writing murder mysteries. But it does not foster peace and harmony in the home, especially not when she has an unimaginative corporate lawyer for a husband. Her overstimulated mind begins working on her new next-door neighbors, the Blanchards, when she realizes she's never seen Mrs. Blanchard. And Mr. Blanchard seems less than eager for her to pay a call. Has Mr. Blanchard, a high school teacher and former university professor, murdered his wife?

television series

American television anthology series

1945 documentary film directed by Sidney Bernstein, Baron Bernstein and Alfred Hitchcock