The “twos” my friend referred to weren’t part of the duality theme, however. There are many examples of Hitchcock dualities. Then there’s the in-your-face duality prevalent in Vertigo (1958) and Shadow of a Doubt’s own Uncle Charlie playing good guy while in actuality he’s a murdering scoundrel…and so forth.

Also, the numerous spies that play a part in many Hitchcock stories are – by definition – employing at least two sides of their personalities. For instance, “the wrong man” theme that permeates many of his films suggests – at the very least – that most people have at their core the possibility of a dark side in addition to the good.

I didn’t think much of the number two when mentioned because anyone who enjoys Hitchcock movies knows – or has noticed – the importance of two (or duality) as a theme element. The number two came up in regards to the director’s Shadow of a Doubt, his personal favorite and one of mine as well. I was having a conversation with another classic movie fan who has a particular admiration for Alfred Hitchcock.

Shadow of a doubt hitchcock analysis