Abstract

In Alfred Hitchcock’s films, specific works of art function in significant ways: as direct comments upon characters, their motives, or predicaments in specific scenes; upon the structure of the film’s plot; as simply comic relief. He stands logic on its head in “The Trouble with Harry” and manages to make all characters look ridiculous in this disturbing black comedy. An artwork, the nature of modern art, the artist, and his confrontation with a policeman are central to its plot. Furthermore, the film pokes fun at the establishment and art patrons, both enlightened and uninformed.