The essay notes that Hitchcock’s oeuvre includes three films that can be read as horror or horror‑adjacent – The Birds, Psycho and Vertigo – each of which also contains strong romance cues.
In Psycho (1960), based on Robert Bloch’s novel, the illicit relationship between Marion Crane (Janet Leigh) and Sam Loomis (John Gavin) frames the opening, and the tense encounter at the Bates Motel is described as a “dance” of concealed secrets before the film shifts fully into horror after Marion’s murder.
The Birds (1963) is highlighted for its infamous production incident: actress Tippi Hedren was forced to work with live birds, resulting in real injuries during a minute‑long sequence that required five days of shooting.
The author also points out that Hitchcock’s personal conduct was abusive, citing Hedren’s autobiography describing unwanted advances and physical assaults, and noting a broader pattern of harassment toward women in his professional circle.
While praising Hitchcock’s technical mastery – such as his use of sound, composition and black‑and‑white cinematography to heighten suspense – the piece stresses that acknowledging his contributions does not excuse the harmful behavior that accompanied his career.