Hold on for a thrilling finale...

It's the last day of the blogathon, friends, and what an event it's been: for all of you who have laboured so hard and so long to keep this cauldron of cinephilia on the boil, I salute you. But the end will prove, I know, equal to Alfred the Great's propensity for memorable climaxes, and never fear: there's plenty of room for all, so you won't have to fight for a place on the last day here like Roger and Valerian above, although you might still like to, and that would be your own affair. Later in the day I'll have the winner of yesterday's draw for donor prizes. And remember, there's also still plenty of time to donate, and the bigger and fatter the donation, the more our father who art Hitchcock will smile upon you from...whichever section of the afterlife he currently prefers to reside in.

Over in the ceaselessly toiling, malefically hued, smoke-shrouded depths of the Krell Laboratories, mistress of mad science Christianne has given the floor to guest writer Lokke Heiss, who recounts his experience of indulging all of Hitchcock's silent works in 1999, the centenary of the Master's birth.

At the AMIA Student Chapter of UCLA, another cabal of sinister geniuses labours to produce scintillating movie commentaries as well as new frontiers in acronyms: today Jon Marquis reconnoiters Hitchcock's late masterpiece, Frenzy, specifically the immortal scenes of Alec McCowen's attempts to eat, and how they form an ingenious sabotage of traditional exposition, amongst other pleasures.

The bounteous and beatific Brandie of True Classicsconsiders the case of Young and Innocent, one of the more unusual suspects from Hitchcock's run of '30s British classics.

The nefarious mastermind Jaime Grijalba of Exodus 8:2 considers the proliferating similarities between the visuals of Psycho and episodes of Alfred Hitchcock Presents.

Speaking of which, Darren at the mOvie blog continues his exploratory reports on episodes of that seminal show, with "A Dip In The Pool", in which the Master collaborated with another hero of a dark and wicked wit, Roald Dahl. And sorry about that last link Darren: html is the devil's work.

Astounding all, the wondrous and waggish Laura attacks from her not-so-secret base at Laura's Miscellaneous Musings to consider Rope, a recent conquest in her efforts to topple the Hitchcock canon.

Not to be outdone, Matthew of The Chiarascuro Coalition sings of the tragedy of poor Margaret, the crofter's wife who makes The 39 Steps an indelibly darker and richer experience...

...whilst W. B. Kelso returns to life just when everyone throught he was dead, with the last of his series showcasing vintage ads and articles, with one of Hitchcock's original obituaries at Scenes From The Morgue, and a commentary on the trailer for Frenzy at Micro-Brewed Reviews...

At Memories of the Future, intrepid voyager through time, space, and mind Jesse Ataide investigates a little case of Suspicion...

...whilst esco 20, aka he who is By Film Possessed, takes a deep, deep dive into Shadow of a Doubt.

The dashingly dextrous disseminator of Dubai, no dubiety, aka Hind Mezaina (see, that's what you get when you encourage me) wraps up a week of wonders at The Cineaste by showcasing a interview with Hitchcock on the television show Monitor, from 1964. A must-watch for Hitch fans.

The indefatigable crew at Limerwrecks come to the end of their journey but not before offering more of what they do best: Jim "Norm Knott" Siergey composes upon a theme of Alfred Hitchcock Presents, and Hilary "Surly Hack" Barta sounds off and rounds off.

...and David Cairns contributes his own lines as well as links over at Shadowplay.

The great and all-seeing Ed Howard brings his epic trek through early Hitchcock to an end with the original The Man Who Knew Too Much at Only The Cinema.

Brian Doan at Bubblegum Aesthetics comes through with a piece that boils the Hitchcock touch down to essentials.

Meanwhile, at Hell on Frisco Bay, a whole other Brianspeaks of the NFPF, the rise of digitalisation in cinema, and film festivals showing newly restored films he's going to be attending, which I suspect he wrote purely for the purpose of making me feel insanely jealous...

...and at 21 Essays, Lee Price is celebrating concluding an awesome series of posts with a sixth that ties together Hitchcock, Blackmail, the MacGuffin, Michael Powell, and Alma Reville in a great big cinephile slashfic. Seriously, kudos, Lee.

Strictly Vintage Hollywood presents an approximation of Hitchcock's second feature and the only one of his films that is considered lost, the elusive The Mountain Eagle.

The sartorially splendiferous Stacia of She Blogged By Night is another hypnotised by the seductive sway of Rope...

...and AdamBatty at Hope Lies at 24 Frames Per Second joins the ranks peering into the shadows of Shadow of a Doubt; and that site's Hitchcock-a-thon will continue throughout the weekend, like those guests who just won't leave after a party's over, but they're so much fun to have around you just can't kick them out...

...but Marc Edward Heuck of The Projector Has Been Drinking has chosen to celebrate Hitch's showman side, as the master of marketing.

At Silent London, Pamela Hutchinson naturally has the silents of Londoner Hitchcock on her mind, in specific his actual debut as director, The Pleasure Garden.

At U.S. Intellectual History, Ray Hiberskidiscusses Notorious.

Strictly Vintage Hollywood, not satisfied with rocking our world all week, offers up Mary Mallory's glance at another Graham Cutts and Alfred Hitchcock collaboration, The Passionate Adventure, a project that first brought Hitch into the orbit of the Selznick clan...

...and Sean Gilman brings it home with a glass of Champagne - that is, Hitch's 1928 silent film - at The End of Cinema.

At John McElwee's Greenbriar Picture Shows, part two of a study of the impact made by The 39 Steps in the US upon first release, marking the beginning of Hitchcock's arrival as an international filmmaker...

...and at Cinema Sight, they rage, rage against the dying of the light with two last day posts, as the crew rounds off their top ten of Hitchcock's films with their individual picks for Hitch's absolute best, but you'll have to click to see what they are! And Peter J. Patrickdiscusses Hitchcock's way with actors, moving beyond that "actors are cattle" jive to study how well he handled stars and got them to play against type. Thanks for all, guys.

KC, not the one with the Sunshine Band but of the far more awesome Classic Movies, has collected together a formidable set of links to pieces on Hitchcock around the web at the moment, including one piece that presents the irresistable what-if notion of Ian Fleming's interest in getting Hitchcock to direct the aborted James Bond film that was later transmuted in Thunderball, and which caused Fleming so much legal heartache.

And in true Hitchcock style, we return to where it all began, as Ferdy on Films hosts guest writer Paroma Chatterjee and her piece on Suspicion.

High Def Digest wraps up that site's buffet of Hitchcock posts for the blogathon with David Krauss' look at Hitch's fondness for one-word titles.

Adam Zanzie of Icebox Movies finally gets his backside around to contributing (I kid 'cause I love, Adam) as he jumps into Hitchcock's visually innovative The Ring, and finds it a mixed experience.

At Shadowplay, David Cairns continues to stun through his dedication in offering a study in Hitchcock's use of vertigo-inducing high and overhead camera angles and aerial shots.

Darren Mooney concludes his survey of the trove of riches that are the episodes of Alfred Hitchcock Presents at the mOvie blog,with a look at "The Horse Player". All hail Darren!

At Moving Image Achive News, the team there have pitched in to raise consciousness of the blogathon and its purpose, and Caylin Smithtakes a look at the film all this fuss is about - The White Shadow. They've also posted a piece on their Facebook page.

At They Live By Night, the mysterious beast whose rampant cinephilia is feared by all bloggers known as Bilge Ebiri writes about perhaps the most atypical and least-known film in Hitchcock's oeuvre, Waltzes From Vienna, and finds the signs of Hitch's grasp on cinematic rhythm glimmering through the costume drama trappings so interesting he wonders if Hitch wasn't a maker of musicals all along...

...and Joe Thompson of The Pneumatic Rolling-Sphere Carrier Delusion hits the end of his drive through Hitchcock-related historical ephemera at 100 MPH, as he takes a leaf through 1933's The World Film Encyclopedia and looks at the entries on Hitchcock, Cutts, and the other neglected heroes of The White Shadow. That's some class scholarship, Joe.

And the charming young Miss Rachel, who is seen so often parading the sunny boulevards holding aloft her cream-coloured light-deflecting mantle that she is now widely referred to by the hoi-polloi as The Girl with the White Parasol, expounds with solicitous delicacy upon the subject of one Miss Ingrid Bergman, who starred in some of those new talking pictures directed by that frightful Mr Hitchcock, and especially one called Notorious, which sounds, well, notorious, but we would not know, as we avoid such vulgar pastimes.

At Kine Artefacts, the eliptically effusive Ellieexplores the problems of working with old nitrate film, that delicate, dangerous and endangered material upon which the entire legacy of early movies rests, and celebrates the skill of those who take it upon themselves to save it and store it.

Old salt Buckey Grimm wraps up his series on places where films are stored and restored at Mindless Meanderings with a brief but charming photographic paean to the little workshops where the archivists labour.

And roaring out of times still to come, riding upon a wave of curved space, The Futurist! pauses on adventures only long enough to hurl us his piece on Family Plot, Hitchcock's very last movie, which is darned apt for the last hours of our last day.