This is a great book for anyone interested in contemporary women's studies. Modleski looks at women's entertainment genres (soap operas, romances, gothic novels, and women's film) that have previously been over-looked by critics and theorists alike. Modleski gives a convincing argument for resistence within the orthodox plot that shows how these seemingly simple-minded story lines offer women a chance to escape subjectivity and find a place of power in a patriarchal society. Though Modelski's argument can be a bit hard to wade through, it is worth taking the extra time to understand her point. It will influence the way you look at popular women's entertainment forever.

This book is skewed heavily toward a radical feminist perspective. I guess by that I mean that the author always seems ready to interpret a film as being hostile toward women. I consider myself a feminist, and heaven knows I am no apologist for Hitchcock in his attitude toward, and treatment of, women; but I also refuse to hate or blame men for every ill in the female cosmos. While one could make the case that Hollywood has institutionalized misogyny, and that the strong female roles of the 40s have been replaced to a large extent by roles as prostitutes and crime victims, sometimes the specific conclusions Ms. Modleski reaches are just plain loopy. Other times I think she adds great insight to her observations about the films of one the most talented directors ever.
You just have to read the book knowing that the author does have a strong viewpoint and may not always present a balanced perspective.

The author examines seven films: Blackmail, Murder!, Rebecca, Notorious, Rear Window, Vertigo and Frenzy.

This is a book worth reading, particularly if you are a film (or especially Hitchcock) fan. But you should be aware that this author has an agenda to put forward, and sometimes she doesn't let common sense, or the facts, get in her way. This kind of a book can be very rewarding, but you have to put more effort into the reading of it -- not just reading what the author says, but trying to understand why the author says it. In this sense it is also a good introduction to feminist film theory.

This book was assigned reading for a Hitchcock class at NYU. I thoroughly enjoyed its even-handed approach to pondering the great film auteur's perspective on women as expressed in his films and the place of women in American films in general.

Although I might disagree with about 5-10% of her conclusions, I would still highly recommend this study.

A fascinating though dense read for people interested in women's studies or Hitchcock. It ain't easy reading, but Modleski's perspectives of some of Hitch's best work (as seen through the lens of feminist criticism) is worth the struggle.