Mark Padilla's study on the role of classical myth in the movies of Alfred Hitchcock is an intriguing piece of scholarly work. Strongly embedded within the ever-expanding scholarship on the reception of classical antiquity in cinema, his book sets out to explore how mythological stories, symbols, motifs and archetypal themes influenced narrative structures and character developments in Hitchcock's films over a time span of ca. 25 years (1928-1951). Through a careful selection of texts, sculptures, paintings and archaeological objects, Padilla meticulously deconstructs each of these films, and analyses how classical sources repeatedly shaped story patterns and character actions. Padilla hereby never tries to fit his reasoning into one fundamental source myth, opting instead for a more complex-and therefore more rewarding-interpretation. In the end, Padilla has produced an exceptionally learned and informative study. He ultimately succeeds in illuminating Hitchcock's eclectic and arbitrary use of classical myth in his filmmaking process, while at the same time revealing a much neglected yet crucial aspect of the director's multi-layered film language. In doing so, he makes a strong case for the universality of mythical stories, as well as their everlasting narrative power in popular culture.

d arbitrary use of classical myth in his filmmaking process, while at the same time revealing a much neglected yet crucial aspect of the director's multi-layered film language. In doing so, he makes a strong case for the universality of mythical stories, as well as their everlasting narrative power in popular culture.d arbitrary use of classical myth in his filmmaking process, while at the same time revealing a much neglected yet crucial aspect of the director's multi-layered film language. In doing so, he makes a strong case for the universality of mythical stories, as well as their everlasting narrative power in popular culture.d arbitrary use of classical myth in his filmmaking process, while at the same time revealing a much neglected yet crucial aspect of the director's multi-layered film language. In doing so, he makes a strong case for the universality of mythical stories, as well as their everlasting narrative power in popular culture.