It's Only a Movie

by Charlotte Chandler

  plot of

  restoration of

  screenplay for

  Verwehte Spuren

  “Vicious Circle” (Hunter)

  Vidor, King

  Viktor und Viktoria

  Violet (Cook)

  Vlaminck, Maurice de

  Vosper, Frank

  Wagner, Richard

  Wakefield, Hugh

  Walker, Robert

  Wallis, Hal

  Waltzerkreig (Berger)

  Waltzes from Vienna (Bolton)

  Waltzes from Vienna (film)

  plot of

  Wanger, Walter

  Warner Brothers

  Warrington, Bill

  Washington, George

  Wasserman, Edie

  Wasserman, Lew

  and Alfred Hitchcock Presents

  at Hitchcock’s knighting ceremony

  Hitchcock’s relationship with

  Hitchcock’s retirement and

  Mary Rose project turned down by

  Universal acquired by

  Watson, Wylie

  Way Down East

  Welles, Orson

  Wheel Spins, The (White)

  White, Ethel Lina

  White Shadow, The

  Whitty, Dame May

  Wilder, Billy

  Dietrich on

  Hitchcock’s admiration for

  Wilder, Thornton

  Wilding, Michael

  Williams, Emlyn

  Williams, John

  Wilson, Paul

  Wise, Robert

  Within the Gate (O’Casey)

  Witness for the Prosecution

  Woman to Woman

  women, in film industry

  Woolf, C. M.

  Woolrich, Cornell

  World War I

  World War II

  Hitchcock and

  Langlois’s film preservation efforts during

  Wreck of the Mary Deare, The

  Wright, Teresa

  Wrong Man, The

  plot of

  W. T. Henley Telegraph and Cable Company

  Wyman, Jane

  Yankee Doodle Dandy

  Yetter, William, Jr.

  Young, Loretta

  Young, Robert

  Young and Innocent

  plot of

  You Only Live Twice

  Zanuck, Darryl F.

  Zanuck, Richard D.

  Zinnemann, Fred

  William Hitchcock and his son, Alfred Joseph, in front of the family store, about 1906. A mosaic version of this picture appears in the Leytonstone tube station in London. (British Film Institute)

  Hitchcock directing The Mountain Eagle at the Emelka Studios in Munich, 1926. Alma stands behind him, and the cameraman is Baron Gaetano di Ventimiglia, who was the cinematographer for Hitchcock’s first three films. (British Film Institute)

  In the 1920s, Hitchcock first drew this caricature of himself, and he continued to draw it throughout his life. He drew this one for the author. (Collection of Charlotte Chandler)

  Madeleine Carroll and Robert Donat in The 39 Steps. Hitchcock denied the rumor that he lost the key and the couple had to stay handcuffed for a whole day. (British Film Institute)

  Peter Lorre, Madeleine Carroll, and John Gielgud in Secret Agent (1936). Gielgud was later sorry he had made so few films after this one. (British Film Institute)

  Michael Redgrave and Margaret Leighton are consoled by Paul Lukas, who is really the villain. In 1938, The Lady Vanishes anticipated the coming European war. (Museum of Modern Art Collection)

  Laurence Olivier and Joan Fontaine in Rebecca. Fontaine thought Olivier wanted his wife, Vivien Leigh, to play her part, but she later found out she was wrong. (British Film Institute)

  MacDonald Carey, Wallace Ford, Teresa Wright, and Joseph Cotten during an early crucial moment of Hitchcock’s own favorite Hitchcock film, Shadow of a Doubt. (Museum of Modern Art Collection)

  Walter Slezak adjusts the clasp of Tallulah Bankhead’s diamond bracelet in Lifeboat. The Cartier bracelet symbolizes all of Constance Porter’s hopes and dreams. (The Sunset Boulevard Collection)

  Hitchcock with his daughter, Pat (left), and wife, Alma, in Bel Air during 1945. Hitchcock had just lost weight on an orange diet, and he is demonstrating how not to eat one. (Collection of Robert Haller)

  The famous kissing scene between Cary Grant and Ingrid Bergman in Notorious that found its way around the three-second limit for film kisses. (British Film Institute)

  Hitch makes himself useful for Ingrid on the Under Capricorn set between shots. (British Film Institute)

  Hitchcock and Marlene Dietrich discuss a serious matter during the shooting of Stage Fright in London. Dietrich was more likely concerned about her appearance than about her character. (Museum of Modern Art Collection)

  The four stars of Rear Window: James Stewart, Grace Kelly, Alfred Hitchcock, and the celebrated courtyard set of Joseph MacMillan Johnson. (Museum of Modern Art Collection)

  Georgine Darcy, who played Miss Torso, with James Stewart between scenes of Rear Window. The pink shorts she saved provided the key to the color restoration of the film. The cast Stewart wore is standing behind them. (Collection of Georgine Darcy)

  Edith Head’s original sketch for Kim Novak’s unforgettable white coat in Vertigo. (Collection of Charlotte Chandler)

  James Stewart making arrangements to follow Kim Novak more closely than her husband had asked him to. (Potsdam Museum)

  Cary Grant, Eva Marie Saint, Alfred Hitchcock, and James Mason during a promotional appearance for North by Northwest. (Collection of Eva Marie Saint)

  Hitchcock, Grace Kelly, and Alma enjoy a joke during the filming of To Catch a Thief. (Museum of Modern Art Collection)

  Hitchcock regards the “bad” aspect of Janet Leigh’s character in Psycho, symbolized by her black bra and half-slip. In the opening scene, before she steals the money, she wears white lingerie. (Collection of Robert Haller)

  Rod Taylor and Jessica Tandy assist an injured Tippi Hedren after she has endured a nightmarish attack by The Birds. The birds themselves seem unperturbed. (Collection of Robert Haller)

  Pat Hitchcock, right, during her stay in New York at the Plaza Hotel, just after Christmas, 2003, with the author. The photograph was taken by Trisha, the great-granddaughter of Alfred Hitchcock. (Collection of Charlotte Chandler)