The structure of Hitchcock’s films reveals a kind of "philosophy of symbolic forms" that can be interpreted as an artistic experiment in the salvation of classical rationalism and moral values, which is realised in the form of a polemic against the aesthetics of modernism. This paper undertakes a morphological analysis of Hitchcock’s films "Murder!" (1930) and "The Man Who Knew Too Much" (1956), and illustrates his poetics as an ensemble of optical, acoustic and narrative techniques, which create a complex symbolic whole.The ideological foundation of his films, hidden beneath narrative representations, is classic traditional morality. Hitchcock’s visual images comprise a system of dynamic and static "hieroglyphs" that uses an arsenal of classic paintings. The music in his films is a parallel, but independent and active text that uses a sophisticated counterpoint with para-musical and acoustic elements.Musical symbols are combined in the complex syntagma with other images and symbols (actually creating a soundtrack that makes up part of the autonomous fictitious world), and just like other elements of his poetics, point the way to restore the spiritual integrity of the individual.