Well, not precisely, but this quote by Eliot about poetry offers a key to analyzing Hitchcock's films, and, indeed, all great suspense thrillers:
“The chief use of the ‘meaning’ of a poem, in the ordinary sense, may be . . . to satisfy one habit of the reader, to keep his mind diverted and quiet, while the poem does its work upon him: much as the imaginary burglar is always provided with a bit of nice meat for the house-dog."
In Hitchcock's movies, the plot mechanics, the mystery to be solved, the suspense engendered by the nominal physical jeopardy of the characters -- all this belongs to the territory of the "maguffin", the essentially arbitrary device that sets the narrative in motion.
The truth of the film is experienced on another level -- which is one reason it's so enjoyable to watch Hitchcock's movies over and over again, why they always seem new. You forget the plot mechanics instantly -- they don't linger in the mind for even a moment after the film is over. All you're left with is the memory of confronting, and surviving, some nameless, existential dread.
[I am indebted to Ken Mogg's The Alfred Hitchcock Story for pointing me towards the Eliot quote and suggesting its connection to the Hitchcock maguffin. The Alfred Hitchcock Story is a pictorial survey of Hitchcock's films with pithy commentary by Mogg and other Hitchcock experts. It's worth tracking down the British edition, published by Titan Books, since the American edition is unfortunately and unaccountably abridged.]