According to Donald Spoto's 1983 biography The Dark Side of Genius, Alfred Hitchcock's tendency to become overly enamoured with his blonde stars reached an ugly head with Tippi Hedren during the filming of Marnie. Revisiting the book now, several years after first reading it and resisting some of the allegations therein, I see an author whose love for Hitchcock the auteur is at war with the unpleasant details of his subject's emotional life. As Ms. Hedren so delicately put it when I had the pleasure of chatting with her the other night: "As a man, [Hitchcock] was found wanting." Spoto's declaration that Marnie is a result of sloth but also unusually personal and effective as art and even memoir illustrates, I think, the schism at which most scholars of Hitchcock at some point arrive. When I read The Dark Side of Genius as a college freshman, it was a gateway to understanding better exactly what was going on in Notorious, and exactly what Hitchcock's men are always playing out.