An Absurdist Perspective on the Harassment of Tippi Hedren by Alfred Hitchcock

From an absurdist perspective, Hitchcock’s treatment of Hedren reveals the irrationality and moral void often present in hierarchical power structures. “Hedren recounts an incident in which Hitchcock allegedly “threw himself” on her in a limousine, attempting to kiss her against her will” (BBC News, 2016). Such actions exemplify the power imbalance inherent in hierarchical systems, where authority figures exploit their positions with little fear of accountability. Camus’s philosophy of absurdism, as articulated in The Myth of Sisyphus and The Stranger, emphasizes the disconnect between human values and the arbitrary nature of social systems. In The Stranger, Meursault’s rejection of societal expectations illustrates Camus’s argument that moral principles often lack inherent meaning. Similarly, Hitchcock’s unchecked behavior reflects an absurd societal framework in which reputational standing is prioritized over ethical conduct. “Camus (1991) notes, “moral principles are reduced to pointless rituals and expectations” “(p. 89), a sentiment that resonates with the film industry's failure to address Hitchcock’s actions despite their ethical implications. Kafka’s works, such as The Trial, similarly critique the coercive and arbitrary nature of authority, drawing parallels to the power dynamics between Hitchcock and Hedren. In The Trial, protagonist Josef K. becomes entangled in a bureaucratic system that wields unaccountable power, reflecting Kafka’s skepticism of institutions that prioritize control over justice. Hitchcock’s alleged manipulation of Hedren’s career mirrors the systemic oppression depicted in Kafka’s narrative. “Hedren (2016) states that Hitchcock prevented her from pursuing other roles and withheld her work from Oscar consideration, effectively trapping her in a career dictated by his whims” (p. 118). Kafka’s absurdist lens emphasizes the dehumanizing nature of such control, portraying it as a symptom of larger systemic dysfunctions. In Kafka’s view, individuals subjected to such hierarchies lose their autonomy, reduced to pawns within an oppressive framework.  This analysis is further supported by absurdism’s critique of human morality and societal complicity in enabling cycles of abuse. Hitchcock’s prominent status in the film industry shielded him from repercussions, with studios often prioritizing his reputation over the well-being of his collaborators. “Hitchcock reportedly referred to Hedren as “just a lucky little blonde model” he had “rescued from relative obscurity” “(BBC News, 2016). Such dismissive attitudes reflect a societal tendency to devalue individuals while upholding systems of power. Camus’s concept of the “absurd man” critiques this dynamic, emphasizing how societal conventions often obscure moral accountability. In The Myth of Sisyphus, Camus argues that humanity’s struggle against an indifferent world is marked by the tension between the desire for meaning and the inherent meaninglessness of existence. From this perspective, Hitchcock’s actions highlight the corrupting influence of authority, demonstrating how societal structures often normalize harmful behavior in the pursuit of success. 

Scholarly perspectives on absurdism reinforce this interpretation. “Srigley (2011) asserts that Camus’s absurdism “rejects false narratives” that justify exploitation and control, advocating instead for a critical examination of societal structures” (p. 37). This critique aligns with Hitchcock’s treatment of Hedren, which illustrates how hierarchical systems frequently shield those in power from accountability. Srigley’s analysis underscores the absurdity of a society that prioritizes fame and fortune over individual dignity, perpetuating cycles of harm. Such dynamics are not unique to Hollywood but are emblematic of broader institutional failures, where the need for preservation often overrides the pursuit of justice.