By Casey McKittrick
Casey McKittrick is an Associate Professor of English at Western Michigan University. He spent June and July of 2012 researching the David O. Selznick and Myron Selznick archives at the Harry Ransom Center. His work, which was funded by the Warren Skaaren Research Fellowship Endowment, produced the first chapter, and informed several others, of his forthcoming book Hitchcock’s Appetites: The Corpulent Plots of Desire and Dread.
When I learned of my Warren Skaaren fellowship from the Harry Ransom Center, I had just begun work on a book-length project examining how Alfred Hitchcock’s experiences as a fat man influenced his filmmaking and the path of his career. After reading that Hitchcock had undergone a 100-pound weight loss upon moving from London to Hollywood in the 1940s, I became convinced that his relationship with David O. Selznick, the Hollywood “super-producer” who provided him with a seven-year contract, must have been partly responsible for this radical body change. Thus, I approached the Selznick archive at the Ransom Center with the working hypothesis that Hitchcock lost weight under the auspices of Selznick (renowned for tightly controlling his employees) to conform to the rigid bodily standards that Hollywood visibility necessitated.
The archive told a completely different story. For five weeks, I not only revised my thinking, but through the marvelously kept records—memos, legal documents, publicity material, scripts-in-process—I developed a narrative about the Selznick-Hitchcock relationship that had never been addressed at length. To be sure, a lot of research has been done on this historically important and largely successful collaboration, but Hitchcock’s fatness had never been suggested as a meaningful factor in their negotiations or their relationship dynamics.
First of all, it became clear that Selznick marketed Hitchcock as Europe’s greatest export by focusing on his fatness. Selznick capitalized on Hitch’s enormity to build a literally larger-than-life profile of the director. He was proud that he had managed to enlist the “Master of Suspense” in the face of great studio competition, and he wanted to ensure that Americans could look to Hitch as a celebrity figure—one belonging to Selznick International Pictures (SIP). The publicity photos for Hitchcock’s first American film Rebecca revealed this reliance on making Hitchcock a spectacle. For example, in one photo, Hitchcock holds a fake barbell while yawning; the photo caption reads: “Heavyweight in light mood.” In four different pictures Hitch is captioned as either a “239-pound Englishman” or a “239 pound director,” and in yet another, the caption reads, “‘Hitch,’ who likes to talk about movies and himself, doesn’t mind allusions to his 239 pounds.” Thus, far from encouraging the director to lose weight, Selznick commodified his body and did so quite successfully. In fact, when Selznick heard of Hitchcock’s drastic weight loss, he became concerned and in a memo urged him to “Drink a Malted!”
Another guiding idea that I uncovered through careful examination of the archive was that Selznick and his cronies at SIP would often use Hitchcock’s size against him in a shaming capacity. For example, Dan O’ Shea, one of Selznick’s vice presidents, sent a scathing memo to Hitchcock that scolded him for his prima donna attitude, and he capped off the missive with the taunt, “How’s the metabolism?” In nearly every altercation between the director and producer, communications emerged that referred to Hitchcock’s greed, his “big appetite,” or the notion that he was getting “too big for his britches.” Even as Hitchcock complied with Selznick’s publicity strategies and realized that his popularity hinged on this kind of “body marketing,” he still retained a great deal of shame surrounding his size, and Selznick exploited this shame many times in an attempt to “manage” him—to control what cinematic projects he took on, how fast he completed them, his other collaborations, and what he said to the press.
My research in the Selznick archives generated the first chapter of my recently completed monograph Hitchcock’s Appetites: The Corpulent Plots of Desire and Dread, and the data I collected there is evident throughout the book. The book truly could not have been completed without this research. I look forward to using materials from the Center on future projects.
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