In eager anticipation of the release of HITCHCOCK, directed by Sacha Gervasi (ANVIL: THE STORY OF ANVIL) and starring Anthony Hopkins, Helen Mirren and Scarlett Johansson, AFI Silver presents this selection of perennial favorites from the Master of Suspense.

AFI Member passes will be accepted at all films in the Alfred Hitchcock Series.

Alfred Hitchcock's landmark 1960 thriller has lost none of its power to shock, despite its familiar place and frequency of reference within the pop culture firmament. Marion Crane (Janet Leigh), impulsively fleeing a dead-end job with $40K of her employer's money, stops at the Bates Motel for the night. The motel keeper, Norman (Anthony Perkins), seems nice, but his mother is another story. Hitchcock deploys his entire arsenal of suspense-creating skills, honed over four decades of moviemaking, but in surprising, expectation-defying, even iconoclastic ways. Bernard Herrmann's celebrated score remains one of the most powerful examples of the fully integrated use of music in the cinema.

DIR/PROD Alfred Hitchcock; SCR Joseph Stefano, based on the novel by Robert Bloch. US, 1960, b&w, 109 min. NOT RATED

Wed, Nov 21, 9:30; Thu, Nov 22, 9:30

Perhaps Hitchcock's most suspenseful film, masterful in its visual storytelling, with James Stewart giving one of the best performances of the 1950s. Having broken his leg on assignment, Stewart's globetrotting photojournalist is laid up in his Manhattan apartment and bored stiff. Despite admonitions from his glamorous girlfriend Grace Kelly, his favorite diversion is to spy on his neighbors, framed screen-like in their windows across the courtyard from his. But when one half of a constantly bickering couple mysteriously disappears, Stewart suspects he may be witness to a murder.

DIR/SCR/PROD Alfred Hitchcock; SCR John Michael Hayes, based on Cornell Woolrich's short story "It Had to Be Murder." US, 1954, color, 112 min. NOT RATED

Wed, Nov 21, 1:00; Thu, Nov 22, 3:00; Sun, Nov 25, 1:00

Crackling dialogue and one memorable set piece after another – including a murder at the UN, the crop-duster attempt on Cary Grant's life and the climactic duel on Mount Rushmore – make this mistaken-identity thriller a classic that shows no signs of age. With James Mason as the unctuous villain, Martin Landau as his creepy henchman and the luminous Eva Marie Saint as a double (maybe triple) agent.

DIR/PROD Alfred Hitchcock; SCR Ernest Lehman. US, 1959, color, 136 min. NOT RATED

Fri, Nov 23, 1:15, Sat, Nov 24, 7:30; Mon, Nov 26, 2:00

Miami, 1946: after her Nazi-sympathizing father is sent to prison for seditious activity, Ingrid Bergman gets recruited by OSS man Cary Grant to work as an American agent and infiltrate a Nazi cell in Rio de Janeiro. Bergman must seduce Nazi industrialist Claude Rains, which means the love affair in bloom between Grant and Bergman must be nipped in the bud. Bergman does so well at her job that Rains proposes marriage – good for spying, bad for romance and increasingly dangerous to Bergman's health. Ted Tetzlaff's inventive cinematography deserves star billing alongside Grant and Bergman. "My favorite Hitchcock." – François Truffaut.

DIR/PROD Alfred Hitchcock; SCR Ben Hecht. US, 1946, b&w, 101 min. NOT RATED

Fri, Nov 30, 12:00; Mon, Dec 3, 9:00; Wed, Dec 5, 7:00--just added!