From the MAD magazine spoof of Pulp Fiction
Cameo Appearances
THE LODGER (1926): At a desk in
a newsroom and later in the crowd watching an arrest.
EASY VIRTUE (1927): Walking past
a tennis court, carrying a walking stick.
BLACKMAIL (1929): Being bothered
by a small boy as he reads a book in the subway.
MURDER (1930): Walking past the
house where the murder was committed, about an hour into the movie.
THE 39 STEPS (1935): Tossing some
litter while Robert Donat and Lucie Mannheim run from the theater,
seven minutes into the movie.
YOUNG AND INNOCENT (1938): Outside
the courthouse, holding a camera.
THE LADY VANISHES (1938): Very
near the end of the movie, in Victoria Station, wearing a black
coat and smoking a cigarette.
REBECCA (1940): Walking near the
phone booth in the final part of the film just after George Sanders
makes a call.
FOREIGN CORRESPONDENT (1940): Early
in the movie, after Joel McCrea leaves his hotel, wearing a coat
and hat and reading a newspaper.
MR. AND MRS. SMITH (1941): Midway
through, passing Robert Montgomery in front of his building.
SUSPICION (1941): mailing a letter
at the village postbox about 45 minutes in.
SABOTEUR (1942): Standing in front
of Cut Rate Drugs in New York as the saboteur's car stops, an hour
in.
SHADOW OF A DOUBT (1943): On the
train to Santa Rosa, playing cards.
LIFEBOAT (1944): In the "before"
and "after" pictures in the newspaper ad for Reduco Obesity Slayer.
SPELLBOUND (1945): Coming out of
an elevator at the Empire Hotel, carrying a violin case and smoking
a cigarette, 43 minutes in.
Criterion Collection DVD - Chapter 9 at 43:07
NOTORIOUS (1946): At a big party
in Claude Rains's mansion, drinking champae and then quickly departing,
an hour after the film begins.
Criterion Collection DVD - Chapter 18 at 01:04:39
THE PARADINE CASE (1947): Leaving
the train and Cumberland Station, carrying a cello.
ROPE (1948): His trademark can
be seen briefly on a neon sign in the view from the apartment window.
UNDER CAPRICORN (1949): In the
town square during a parade, wearing a blue coat and brown hat,
in the first five minutes. Ten minutes later, he is one of three
men on the steps of Government House.
STAGE FRIGHT (1950): Turning to
look at Jane Wyman in her disguise as Marlene Dietrich's maid.
STRANGERS ON A TRAIN (1951): Boarding
a train with a double bass fiddle as Farley Granger gets off in
his hometown, early in the film.
I CONFESS (1953): Crossing the
top of a staircase after the opening credits.
DIAL M FOR MURDER (1954): On the
left side of the class-reunion photo, thirteen minutes into the
film.
REAR WINDOW (1954): Winding the
clock in the songwriter's apartment, a half hour into the movie.
TO CATCH A THIEF (1955): Ten minutes
in, sitting to the left of Cary Grant on a bus.
THE TROUBLE WITH HARRY (1955):
Walking past the parked limousine of an old man who is looking at
paintings, twenty minutes into the film.
THE MAN WHO KNEW TOO MUCH (1956):
Watching acrobats in the Moroccan marketplace (his back to the camera)
just before the murder.
THE WRONG MAN (1956): Narrating
the film's prologue.
VERTIGO (1958): In a gray suit
walking in the street, eleven minutes in.
NORTH BY NORTHWEST (1959): Missing
a bus during the opening credits.
PSYCHO (1960): Four minutes in,
through Janet Leigh's window as she returns to her office. He is
wearing a cowboy hat.
THE BIRDS (1963): Leaving the pet
shop with two white terriers as Tippi Hedren enters.
MARNIE (1964): Entering from the
left of the hotel corridor after Tippi Hedren passes by, five minutes
in.
TORN CURTAIN (1966): Early in the
film, sitting in the Hotel d'Angleterre lobby with a blond baby.
TOPAZ (1969): Being pushed in a
wheelchair in an airport, half an hour in. Hitchcock gets up from
the chair, shakes hands with a man, and walks off to the right.
FRENZY (1972): In the center of
a crowd, wearing a bowler hat, three minutes into the film; he is
the only one not applauding the speaker.
FAMILY PLOT (1976): In silhouette
through the door of the Registrar of Births and Deaths, 41 minutes
into the movie.
