Quiche lorraine according Alfred Hitchcock: le figaro



From the article (translated from French) :
Several cookbooks resume the recipe for quiche lorraine Hitchcock.Here is one of the Celebrity Cookbook of Johna Blinn, published in 1981. Mix 2 cups flour and cold butter half cup cut into small pieces with your fingers until the texture resembles coarse sand. Add an egg yolk, a pinch of salt, ¼ cup cold water and mix until a firm dough. Wrap in plastic wrap and let stand at least an hour. Spread half of the batter into a pan, prick it with a fork or knife and shape the edges with a fork (keep the remaining dough for another pie!). Spread the cooked diced ham (2-3 slices) on the dough. Sauté onions in two lamella butter without them brown, then pour over the ham. In a saucepan, beat four eggs with a pinch of salt, cayenne pepper and a little grated nutmeg. Gradually add two cups of warm milk, continuing to beat with a whisk. Continue to beat the mixture over low heat until the cream begins to thicken. Place the mixture over the pie and cook over medium heat (190 degrees) for thirty minutes. The cream should be golden. Serve hot, directly in the mold.

The original:
La recette de la quiche lorraine d’Alfred Hitchcock

Plusieurs livres de cuisine reprennent la recette de la quiche lorraine d’Hitchcock. Voici celle du Celebrity Cookbook de Johna Blinn, paru en 1981. Mélangez 2 tasses de farine et une demi-tasse de beurre froid coupé en petits morceaux avec vos doigts jusqu’à ce que la texture ressemble à du sable grossier. Ajoutez un jaune d’œuf, une pincée de sel, Œ de tasse d’eau froide, et mélangez jusqu’à obtenir une pâte ferme. Emballez dans du film plastique et laissez reposer au moins une heure. Etalez la moitié de la pâte dans un moule, piquez-la avec une fourchette ou un couteau et façonnez les bords avec une fourchette (gardez le reste de la pâte pour une autre tarte!). Dispersez des dés de jambon cuit (2-3 tranches) sur la pâte. Faites sauter deux oignons en lamelle dans du beurre sans qu’ils ne brunissent, puis versez-les sur le jambon. Dans une casserole, battez quatre oeufs avec une bonne pincée de sel, une de poivre de Cayenne et un peu de noix de muscade râpée. Ajoutez peu à peu deux tasses de lait chaud, en continuant à battre avec un fouet. Continuez à battre le mélange à feu doux jusqu’à ce que la crème commence à s’épaissir. Déposez le mélange sur la tarte et faites cuire à feu moyen (190 degrés) pendant trente minutes. La crème doit être dorée. Servez chaud, directement dans le moule.


Alfred Hitchcock by Peter Ackroyd review – ‘Catholic, controlling and celibate’ | Books | The Guardian

From the book:
But in Ackroyd’s telling, it was work and not blondes that dominated Hitchcock’s life. “I finished To Catch a Thief one afternoon at 5.30, and by 7.30 [The Trouble withHarry was under way,” he boasted. The advantage of this relentless schedule was that there was little time for introspection. When actors asked him what their character’s “motivation” should be, he liked to reply “your salary”. The downside was that he was always so much in the thick of his work – cutting, revising – that he could not appreciate what he had achieved. After shooting Psycho, he talked with Bernard Herrmann, who composed the score, including its jabbing music for the shower scene. Herrmann recalled him pacing up and down, saying how bad it was and that he would have to “cut it down for his television show. He was crazy. He didn’t know what he had.”

New Short Hitchcock bio reviewed- The Washington Post



From the publisher
Widely regarded as the greatest filmmaker of the twentieth century, Alfred Hitchcock had a gift for creating suspense and a shrewd knowledge of human psychology. His film career, spanning more than half a century, is studded with classics from The 39 Steps to PsychoNorth by Northwest to Vertigo (which in 2012 unseated Citizen Kane as the best movie of all time according to Sight and Sound). A master of intricate storytelling, Hitchcock was one of the first directors whose films belonged to both popular culture and high art. By the end of his life, he had gone from being the overweight son of a greengrocer in a London suburb to Hollywood’s reigning director, whose cameo roles in his own films were one of their most anticipated features, and whose profile was recognized by millions (thanks to the television show Alfred Hitchcock Presents).

Michael Wood describes this journey with the wit and erudition that are the trademarks of his work, showcasing his singular ability to detect hidden patterns within apparently disparate forms. Whether he is writing about Henry James or Hollywood in the 1920s, he is alert to the fundamental truth lurking behind the stated meaning. In Hitchcock, Wood has found his ideal subject—an artist for whom explicit statement was anathema, who made conventional plot a hiding place rather than a source of revelation.