In future Britain, charismatic delinquent Alex DeLarge is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan.
John "Scottie" Ferguson is a retired San Francisco police detective who suffers from acrophobia and Madeleine is the lady who leads him to high places. A wealthy shipbuilder who is an acquaintance from college days approaches Scottie and asks him to follow his beautiful wife, Madeleine. He fears she is going insane, maybe even contemplating suicide, because she believes she is possessed by a dead ancestor. Scottie is skeptical, but agrees after he sees the beautiful Madeleine. Written by
Scotty's apartment actually exists, and it boasts the improbably stunning view of Coit Tower through its living room window, which looms over Scotty and Madeleine in the apartment scenes. True aficionados can find it (near Fisherman's Wharf in San Francisco) by positioning themselves in the same relation to the tower that is seen through the window. See more »
Scottie and Judy drive through a grove of eucalyptus trees that is located south of San Juan Bautista on the way there from San Francisco. See more »
(Forever Female), from Skylark (1941) (Poochie)
Composed by Victor Young
Orchestrated by Gus Levene
Played as 'cue 12D' by the orchestra while Scottie and Judy are dancing See more »
In Boileau-Narcejac's French novel "D'Entre les Morts"= from among the Dead"),the revelation only comes in the last pages,but Hitchcock lets the cat out of the bag long before the end. Boileau-Narcejac's novel is a pure detective story,but the Master wanted more:the movie already outdistances the book in a first part visually wonderful,with memorable scenes,wrapped in mystery ,such as the one with the sequoia,symbol of immortality or the one down by the sea,to rival with the best romantic movies of all time.In the second part,Hitchcock explains in the Truffaut's book,we know but Scottie( James Stewart) does not .And he tries to recreate a dead woman,to transform Judy into Madeleine.This folie à deux ends where the first tragedy occurred ,which gives the movie a strength that the book had not.Read it and you'll realize how its end ,speaking in terms of cinema,had to be modified for the screen.That's Hitchcock's genius.
When Boileau/Narcejac learned that Hitchcock wanted to transfer "Celle Qui N'Etait PLus " (=les Diaboliques" )to the screen,they immediately wrote "D'Entre les Morts " on the same pattern for Hitchcock to direct.
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