ALFRED HITCHCOCK

     Alfred Hitchcock, holder of prestigious accolades such as a Golden Globe and an Oscar, would argue that parasocial relationships are not harmful. While filming The Birds and Marnie, Hitchcock became obsessed with leading actress Tippi Hedren (Olya, 2016). In an article by the New York Post, it states, “the director warned Hedren’s castmates, particularly the handsome Rod Taylor, not to socialize with or touch the girl” (Laneri, 2016). Tippi Hedren fell victim to an extreme parasocial relationship and suffered in silence for many years. Hitchcock, much like obsessive fans of Korean Pop music, would claim parasocial relationships are harmless.

 

 

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     The relationship Hitchcock had with Hedren was beyond parasocial, it was anything but harmless. Hitchcock believed his obsessive behavior towards Tippi was in good faith. In an article by Forbes Magazine, it states, “Hitchcock initially acted as her mentor, schooling her with his wife Alma Hitchcock in a rigorous acting course before work began on The Birds in 1963 (Smith, 2016). While he was willing to help Hedren at the start of her career, his actions that followed would prove he had more sinister motives. In an article by The Independent, it states, “He found this amazing woman who has never acted before and thought he could mould her—in his mind he was creating the perfect woman” (Rampton, 2012). He began curating an image he wanted Hedren to adhere, to specifically that of his ideal woman. This led to Hitchcock becoming deeply infatuated with Hedren, which brought on unwanted advances towards the actress. At one point “Hitchcock set upon Hedren in his private office and told her he loved her” (Smith, 2016). Hedren did not feel the same way and rejected his advances—upsetting Hitchcock (p.1). When Hedren attempted to get out of her contract with Hitchcock, he tried to convince her otherwise (p.1). He stated, “Well, you can't, you have your daughter to support, and your parents are getting older” (VanHoose, 2021). From then on, he decided if she would not return his feelings for him, he would ruin her. Proving he never had good intentions from the beginning. 

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      Hitchcock required his actresses to meet an unrealistic standard, one that allowed the public to view the actresses in a skewed manner. Alfred Hitchcock held his female leads to an extreme standard. He projected his own fantasies onto his female leads. The term ‘Hitchcock Blonde,’ refers to a “cool blonde that is cold” (Ruuskanen, 2025). Hitchcock often used this criterion when it came to casting female leads for his films. These standards are harmful, not just to the actresses, but also every woman. In an article by Far Out, it states, “my taste is based on English women, outwardly cold, inwardly passionate — probably the most promiscuous of all” (p.1). This statement further reiterates, Hitchcock would choose actresses based on his personal preferences and had a misogynistic view towards English women. Hitchcock states, “most Englishmen don’t appreciate them—These lovely creatures are the product of their climate; Scandinavian women, from a similar climate, are similar emotionally” (p.1). His word choice proves he viewed women as “creatures” beneath him not worthy of being on the same level as men (p.1). Hitchcock has also stated, “blondes make the best victims—they're like virgin snow that shows up the bloody footprints” (Hitchcock Estate, 2024). This was an incredibly odd statement to make, considering blondes are not an oddity. Hitchcock projected his fantasies onto his actresses and mistook rejection as being “icy”—which he enjoyed (Ruuskanen, 2025). He saw these women as objects made to be marketable and thought he was doing them a favor.

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   Hitchcock would argue parasocial relationships are harmless because he benefited from them. When Tippi Hedren came forward about the torment Hitchcock put her through, a few people who worked with Hitchcock were quick to defend him and his character (Thorpe, 2016). Fellow actress Louise Latham, who worked with Hedren in Marnie, stated, “I find some of the allegations hard to believe—she’s a lovely woman, but I don’t think Tippi should have said those things about Hitch” (p.1). Latham had only worked with Hitchcock once, while Hedren worked with him twice (p.1). Hedren also knew Hitchcock on a more personal level as she received acting lessons from Alma and Alfred Hitchcock (Laneri, 2016). Latham also stated, “I wasn’t aware of her being hassled on the set—for Hitchcock to go down as this monstrous thing, to the degree that [Tippi] was vulnerable is not accurate” (p.1). Her statement proves Hitchcock held a certain power over his staff and colleagues that made them afraid to criticize or speak ill of him. Many staff and co-stars saw Tippi as dramatic and justified Hitchcock’ s behavior because she allegedly called him a “fat pig” (p.1). In an article by the Independent, it states, “He certainly had power and drive and determination and a strident, big personality” (Rampton, 2012). Although Hitchcock engaged in questionable acts, his personality—or what people thought his personality was like managed to charm people. The article also states, “Writing this film actually increased my sympathy for him—I’m a huge fan of Hitch—I love his work” (p.1). Which reiterates that fans tend to excuse unruly behavior solely based on an artist’s work and how they present themselves. Another line from the article states,” but at the same time he was impotent, terrified of sex and consumed with revulsion for his own body—he was a sad old man who more than met his match in Tippi” (p.1). Alfred Hitchcock benefited from parasocial relationships by constantly having his behavior excused, gaining sympathy regarding his past and having the power to influence others’ opinions.​​​​​​​​

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        It is without doubt that Alfred Hitchcock is one of the most influential directors of all time. He was a controversial figure who would argue parasocial relationships were harmless based on his personal life. He saw no issue with the way he treated Hedren and thought she owed him favors in return for creating her success. He was obsessed with the marketability of his actresses and projected his fantasies onto them, which harms the actresses and other young women. Lastly, he benefited from parasocial relationships as he was always excused for exhibiting certain behaviors, so yes, the “Master of Suspense” would argue parasocial relationships are harmless (Hitchcock Estate, 2024).

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