was one of the most prolific filmmakers during Hollywood's Golden Age who worked on numerous occasions with an array of iconic stars of the silver screen, such as , , and . Out of all the notable names that the Master of Suspense collaborated with, is one Hollywood legend who ranks as one of the director's best leading men.

in their own unique way, and are considered to be some of the greatest contributions to classic cinema. All of their films stand to be vital in both their careers, allowing Hitchcock to experiment with settings and camera techniques and allowing Stewart to work outside his wheelhouse, exploring more dark and complex roles. From Hitchcock's remake of , to the infamous psychological thriller, , this is every Hitchcock and Stewart movie, ranked.

Hitchcock is one of few directors who remade his own work and, in 1956, he remade his 1934 crime thriller, The Man Who Knew Too Much, with significant alterations to the plot. Stewart stars alongside as a married couple, Dr. Ben and Josephine McKenna, who, along with their young son (), go on vacation in Morocco, where they meet a seemingly friendly man, Louis Bernard (). When Louis is chased by police and stabbed in the marketplace, he tells Ben with his final breath about an assassination plot before dying, ultimately putting the American family in grave danger.

After the immense success of Rear Window, for his powerhouse performance. In 1941, Hitchcock had originally thought of an American remake of The Man Who Knew Too Much, but in the end, he essentially agreed to a remake years later as a contractual agreement with Paramount Pictures. Even though the remake varies from the original, the 1956 version is still one of , thanks to a tight, punched-up script, flawless performances, and a now-iconic tune, , performed by Day, which won the Academy Award for Best Original Song.

is easily one of Hitchcock's most underrated movies and showcases the director's impressive ability to deliver a compelling criminal drama set solely in a confined space with just a few players at hand. The film tells the story of two friends, Philip () and Brandon () who, shortly before a dinner party, strangle their friend and hide his body in a large chest which they use to set out the buffet of food on. When the guests arrive, including the victim's fiancée () and their professor (Stewart), whose lectures inspired their twisted philosophical experiment, one finds a devilish delight in their unspoken deed while the other becomes riddled with guilt and anxiety.

Rope marked the first collaboration between Hitchcock and Stewart and was also the second installment in the director's "limited setting" films. Upon its original release, , as some commended it as a technical tour de force and macabre tale, while others felt it to be too restricted by its confined space and oversaturated with unnecessary plot details. Aside from its single set, the movie is also known for its graphic opening scene which incites shock and disgust in the audience towards the lead characters. Even though Stewart isn't the official lead, who slowly brings their diabolical deed to light.

Hitchcock casts Stewart in another essential psychological thriller, Rear Window, as a photographer, Jeff Jefferies, who has to use a wheelchair due to a broken leg. He becomes excessively restless and bored with being cooped up in his New York apartment alone. In an effort to entertain himself and pass the time, Jeff begins watching his neighbors, familiarizing himself with their day-to-day routines while remaining unseen and hidden among the shadows. When he witnesses a heated argument between a married couple across the courtyard, the wife suddenly vanishes, leading Jeff to believe that her husband () is behind her sudden disappearance.

and is one of their all-time best cinematic partnerships. Despite his character's restricted mobility and lack of physical action, Stewart relies on his striking blue eyes and precise facial expressions, delivering an alluring and captivating performance that is considered to be one of the actor's finest. Hitchcock elevates the psychological elements of the film through the unique use of point-of-view shots, which give audiences the impression of being a part of the film and an accessory to Jeff's amateur sleuthing. Rear Window is one of , celebrated for its detailed and vibrant courtyard, portraying an unassuming atmosphere with a quaint backdrop that is the ideal setting for a traditional Hitchcock murder mystery.

Stewart takes on his most complex Hitchcock roles as a retired San Francisco police officer, John "Scottie" Ferguson, who, after an incident on the job, now suffers from a severe fear of heights accompanied by debilitating vertigo. One day, Scottie is asked by an old friend to follow and report on his wife, Madeleine (), whose recent erratic behavior has caused him to become concerned for her safety. Eventually, a romantic attraction grows between Scottie and Madeleine, but despite this newfound romance, Madeleine's behavior worsens. When Scottie fails to save Madeline, he falls into a deep depression until he crosses paths with a woman who reminds him of Madeleine, leading him to develop an intoxicating obsession over molding her into his lost love.

is regarded as Hitchcock's greatest film and is a crucial psychological thriller that centers around a man's pygmalion-type fixation and features an unexpected twist of events that is a profound testament to Hitchcock's spellbinding storytelling. The film was a revolutionary achievement for Hitchcock, who cultivated the definitive psychological experience through the use of color, trick angle shots, and the dolly zoom, making Vertigo the first film to feature the in-camera effect, which distorts the normal visual perception of the audience. Stewart delivers a layered performance that demonstrates his versatile range and talent as a dramatic performer, pulling audiences into his character's elaborate line of thinking and inescapable trauma that leaves an unsettling but fascinating impression on the viewer. Despite initial mixed reviews, , deeming it to be the duo's best and most influential production.

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